Label: Farpoint Recordings

フィードバックを核とした非常にカッコ良い音源集!!自主レーベルRoom Temperatureより大量のプライベート音源を出版、ダブリンを拠点とするサウンドアーティスト/即興演奏家であり、自作楽器の発明家でもあるFergus Kelly。スピーカー・フィードバック、ノーインプット・ミキサー、自作電子回路を用い、フィードバック録音の魅力を追求したクールなノイジー作[A Congregation of Vapours]。絶え間なく押し寄せる交通の波、スーパーマーケットの冷蔵庫の唸り、その他無数の機械音、人間が日常で耳にしている情景を崩壊寸前まで引き伸ばし、物理と幻影の性質を併せ持つ厳つい音の形態を生み出しています。A5サイズ・スリーヴ。





A Congregation of Vapours features 8 tracks totalling 57 minutes, along with an essay from writer Paul Hegarty. The compositions were made using speaker feedback, no-input mixing board, DIY electronics, amplified metals, field recordings and processing.

The pieces employ a wide range of textures and timbres across a broad dynamic spectrum, ranging from full-bodied, dense soundfields, to more muted and understated presences. Feedback is the core sound and starting point for the compositions, and is taken to various extremes via many stages of intensive electronic processing and forensic editing. Sounds as raw, malleable matter, stretched to the point of collapse, pulled inside out, further distilled and cross-hatched, breeds inscrutable new forms, at once physical and phantom in nature.

A Moebius strip of endless decay and regeneration, the sound of sound cannibalising itself, these fugitive soundscapes were grown from residual traces of empty spaces, ventriloquised into being - a void given voice - where feedback makes dimension audible. In this case, the dimensions of various metal vessels mounted on speakers, which resonate, buzz and rattle with microphones placed inside.

Woven together, these disembodied, atomised artifacts establish their own space for the listener to navigate, volatile and capricious as the weather. Threaded through this speculative fiction is documentary reality in the form of field recordings, which augment and galvanise a particular sense of place and narrative flow, which sits uneasily between the created and the real.

The textures of both worlds have an interconnectedness, and a parity of presence. The ceaseless surf of traffic, the hums and drones of supermarket fridges and myriad other machine presences - sounds we daily swim through with varying levels of awareness - intersect with magnetic fields of prepared noises, aural detritus and sonic fallout, to form a climate of disturbance and disruption. A seepage of spectral broadcasts, corrupted signals and insidious transmissions - tactile yet immaterial - suspends us in sound.