1 week ago, 14 October 2014 · 8 notes
Saturated media ecologies. Hypermediated economy of attention. Texture as opposed to pattern. Tlaotlon from New Zealand and Střed Světa from the Czech Republic converge their intra-terrestrial sonicism, a world apart geographically, less than a stone’s throw musically. Tlaotlon's glistening, mellifluous electronics is inspired by glut aesthetics, a lysergic ornamental kaleidoscope, with fractals of sounds, melodies and beats gravitating towards each other and centrifugally dispersing into the outer orbits. Střed Světa's side follows his debut on Baba Vanga, which also inaugurated the whole imprint back in 2013. He expands his idiosyncratic sonic lexicon, breezily gliding through gelated rhythms and melodies, a crystallized wormhole.
Sillicon larvae, transparent aural amphibians that slither through primordial forests of data, biting chunks off, a gel-coated aural rhythmmachine. Plasticized sonification of organic structures, organic not in terms of “natural” sounding, but in its utmost literal sense – the moist, breathing, rustling, restless, magic essence of flora and fauna, stripped of its original tropoid signifiers and encoded in a liquid nano-funk. Drums in Střed Světa’s last track are played on a canister, the melody in the first originated from a recording of an old lady playing a barrel organ, while a bunch Tlaotlon’s rhythms are supposedly based on the ratios of ancient turning systems. “’The Thing” that can or can’t exist in the same way that a piece of shiny plastic trash discarded in a forest may - for a second - become a lizard on the edge of perception and then return back into the ghostland beyond our eyeballs”.Reblog Like