Hecker - Acid in the Style of David Tudor reviews
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| Tinymixtapes |
It’s been six years since Florian Hecker’s epic yet highly difficult Sun Pandämonium. I gave the album a 4.5 out of 5 in my review, saying it was like "viewing sound from different angles." Pitchfork gave it an 8.7, insisting that "the listening experience will do nothing if not reduce you to puddling drool at the end." Dusted said, rather bluntly, "Hecker’s honed fireworks won me over." And then there was Stylus, who gave Sun Pandämonium an F grade and provided a succinct encapsulation of the knee-jerk reactions one would expect from an album as twisted as this: "The album gets very boring, very quick."
Extreme sounds garner extreme reactions, and (thankfully) things only get more challenging with Acid in the Style of David Tudor. Here, the Vienna-based artist further dodges the predictable and tumbles into territories ignored even in experimental circles. It’s nearly 52 minutes of some of the most uncompromising explorations into sound materiality, a nonlinear donation that could just as easily be confused with chaos if you ignore the inherent limitations of his old-school instruments (a Buchla modular synth patched into a manipulated Comdyna analog computer). The album is "chaotic," yes, but it’s chaotic within a very specific environment....full text |
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| Soulseduction |
| 'Acid In The Style Of David Tudor' is Florian Hecker's first full length studio (as opposed to collections and commissions for art installations) album since 2003, when the groundbreaking 'Sun Pandamonium' was unleashed by Mego. Since then he has collaborated on audio projects with Yasunao Tone, Russell Haswell (as Haswell & Hecker) and a forthcoming live collaboration with Richard James as well a myriad of sound installation works, individually and with numerous artists worldwide. As the title suggests this album is referencing the parallel universes of modern 20th century composition and hedonistic rave culture. A challenging but ultimately rewarding set of Electronic Music compositions which push these two reference points into unknown areas. Set in apparent contrast are the sequence of six pieces Acid In The Style of David Tudor, where hyperchaotic functions are inherently coupled to their sources of manipulation - a Buchla modular synthesizer in combination with a Comdyna analog computer - in opposition to the ASA pieces, fruit of a complex manipulation of distinct auditory patterns into a new acoustic whole. The closing Ten opens with an intense head related localization blur. Here, virtual binaural, stereophonic, biphonic and monaural sound reproduction coexist. All three approaches are displayed into a contrasting dynamics, where non- linear waveforms and psychoacoustic illusions that constantly push our perceptual and representational fabrics. Following the ideas of Robin Mackay, Hecker's work reinstanciates the genetic ofness, once proposed by philosopher David Kaplan, cutting both genetic and cultural territories of hearing. This release is available as CD and download with an extensive 16 page essay 'Climate of Bass Hunter: Florian Hecker Acid in the Style of David Tudor' by Robin Mackay, founding editor of Collapse. It is recommended to listen to this material on loudspeakers at high volume. Headphone use is not advised....full text |
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| Hbdirect |
| With a title that cheekily references MDMA-fueled rave culture and an influential, notoriously radical, mid-century live electronic music innovator, Vienna-based composer Florian Hecker draws upon two philosophically opposite yet similarly cutting-edge musical touchstones for his second solo album, ACID IN THE STYLE OF DAVID TUDOR. While fans of Tudor's feedback-drenched electroacoustic environments, such as RAINFOREST, may find ACID's stridently digital tone slightly claustrophobic, there is a bounty of ear-perking textures here for the post-digital laptop mob. Employing a Buchla modular synthesizer patched to a Comdyna analog computer, the album's 10 tracks are marked by staccato bursts of digital noise, sea-sick modulations, and furiously buzzing panoramic spatializations, making for challenging but rewarding listening for aficionados of experimental music and sound art....full text |
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