bbcd07 rsundin
lorez plaza / limp 2CD
ltd.500 $12
disc
a:lorez plaza
01. a 06:52
02. b
10:06 [mp3
except]
03. c 07:28
04. d
07:11 [mp3
exerpt]
05. e 09:49
computer processed
fieldrecordings. low resolution,
static and
meditative. recorded
spring 99@KIT
thanks to a.berthling
disc
b: limp
01.
oo 01:03
02. oa
02:02
03. q
03:18
04. p-p 03:09
05. 2ftt 04:20
06. no/ftp 02:02
07. dmg
01:54 [mp3 excerpt]
08. digidub 01:33 [mp3
excerpt]
09. cipph 01:46
10. oocl 00:29
11. 22_79 02:14
12. zzap 01:08
13. intld. 00:43
14. dego 04:25
15. moot 02:32
16. dadl 02:06
17. voxa 01:20
18. trd.lo 02:02
19. graz 01:36
20. stud 02:45
21. lote 01:55
22. nsk 01:11
live improvised
signalprocessing of various soundfiles. minimal. chaotic and charming.
recorded spring 99@KIT, norway
thanks to a.berthling + k.augustsson
review from Vital Weekly 189:
R. SUNDIN - LOREZ PLAZA/LIMP (Double CD on Bonbonrecords)
Knowing that Sundin is the main man behind Bad Kharma, this work may
come as somewhat of a surprise. With very low volume pieces, this is
very different from Bad Kharma. His solo debut on Bake Records
already gave an indication of the direction that his solo work takes,
and that indication seems to hold partly true. The first piece on
Lorez Plaza basically consists of a couple of pulses, one in the mid
frequencies and one in the low, with a soft screeching sound added.
Later another pulse takes over from the screeching. Sounds simple and
yes, it is. But the way the stereo spectrum is used makes it a pretty
unnerving affair, especially on the headphones. In all its
simplicity, this is a strong piece. The second piece starts with an
8-bit sample embedded in an environmental soundscape and creates a
paradoxical atmosphere: very close and very distant at the same time.
Later tiny bleeps are added, which really invade this spatial tension
and also function as a bridge to part two of the piece, in which a
soft, distorted loop takes over. Again a very sober, but effective
piece. Track three is of a similar character, starting off with a
repetitive sound, again sounding as 8-bit. And again there is
something almost imperceptible in the background: some space,
disconnected from the sound in the foreground, but gradually gaining
more presence. After some time all sounds become louder and more
intense, not all at once, but each individually. But we're still
talking low volume here. During the piece the emphasis shifts very
slightly from one sound to another and then it suddenly ends. The
next track starts with an environmental recording and some samples to
which later a very low and pulsing drone is added and also a very
soft high tone. These ingredients alternate during the piece, until
they all stop at once, to be followed by one more high whine. The
fifth and last track on the first CD begins with an almost inaudible
stereo rumble, to which a hiss is added very slowly. Later more
sounds are added, all in very low volume, that seem to creep through
the head, from one ear to the other. These sounds are left to play
alone in the end. This stuff really requires attention, not unlike
the music of Francisco Lopez or Bernhard Guenter. These references
may seem obvious with this sort of music, but Sundin has defenitely
got his own style and his own sound.
The second CD, Limp, contains 22 tracks, and is of a different
nature. It seems that most of the tracks are based on dance music,
that has been deformed, cut up, looped and randomized. Additional
sounds and samples are used to create breaks and intro's. Most tracks
are about two to three minutes in length. The sound is pretty weird
and, if I may say so, quite nordic. This disc has a bolder character
than the first one, which is quite gentle. It took me a while to get
used to, but when I got the hang of it, I really enjoyed it. In a
sense, both CD's have the same strange and somewhat alienated
atmosphere. Defenitely not easy listening and therefore
recommended.(MR)