In stock
LP
Crys COLE
“Making Conversation”
crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT 096LP), Making Conversation documents a different facet of cole's work, presenting three rigorously conceptualized commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions. The side-long title piece is a stereo version of an eight-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia/San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she "observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place." Drawing on field recordings as memory aids (but including none in the finished piece), cole's piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cage-ian drive to "imitate nature in her manner of operation." "Valid ForeverrRrrRRrrr? (pt. 1)" began as cole's contribution to an Issue Project Room commission to realize a score from Alison Knowles and Annea Lockwood's Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole's piece begins from Beth Anderson's "Valid for Life," a complex arrangement of the letter R in various typefaces. Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole's work, extending her signature concerns in new sonic and conceptual directions.
28,00€
In stock
LP
Crys COLE
“Other Meetings”
Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).
While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.
Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.
24,50€
In stock
LP
Crys COLE
“Beside Myself”
Beside Myself is the second full-length release from Canadian sound artist Crys Cole. Known to many through her extensive collaborative practice with artists such as Oren Ambarchi, Leif Elggren and James Rushford, in her solo work cole uses contact microphones, voice, simple electronics and field recordings to create sonic environments that linger uneasily at the threshold of perception. Demonstrating how cole's work has developed and deepened since the relative austerity of her first solo LP Sand/Layna (2015, Black Truffle), Beside Myself offers two lushly immersive side-long pieces that explore ideas of compositional drift.
'The Nonsuch' is inspired by the aural hallucinations experienced in the hypnagogic state during the onset of sleep. Opening with scratching contact mic textures and unintelligible vocal murmurs, the piece threads together live and studio performances with field recordings of urban environments to create a texture that is at once seemingly consistent and marked by constant transitions. Individual elements rise up from the background thrum only to disappear just as we become conscious of them; heterogenous sounds and spaces succeed one another with the unassailable logic of dreams.
'In Praise of Blandness (Chapter IX)' also focusses on drift and transition, but in a much more single-minded way. Over a rich, slowly-evolving organ drone, cole reads a passage from the French sinologist François Julien's book In Praise of Blandness exploring the concept of 'blandness' in the Taoist aesthetics of sound. Beginning crisp and clear, cole's voice becomes gradually less distinct over the course of the piece, the spoken words blurred by resonant frequencies à la Lucier's I Am Sitting in a Room until we are left with only the rhythm of incomprehensible speech. The text that cole reads acts a perfect description of her aesthetic project: 'We hear it still, but just barely, and as it diminishes it makes all the more audible that soundless beyond into which it is about to extinguish itself. We are listening then, to its extinction, to its return to that great undifferentiated matrix'.
Francis Plagne (November, 2019)
Original price was: 17,50€.12,00€Current price is: 12,00€.
Out of stock
LP
Crys COLE
“Sand – Layna”
Limited edition LP of Canadian sound artist crys cole’s first full-length solo release.
She is known for her work with Keith Rowe, Oren Ambarchi and in Ora Clementi, her acclaimed duo with Australian composer James Rushford.
The LP comprises of two side-long works. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin
LP only release, edition of 300
Sand / Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole’s work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage’s Cartridge Music. cole’s approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop.
This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
She is known for her work with Keith Rowe, Oren Ambarchi and in Ora Clementi, her acclaimed duo with Australian composer James Rushford.
The LP comprises of two side-long works. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin
LP only release, edition of 300
Sand / Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole’s work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage’s Cartridge Music. cole’s approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop.
This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
19,00€