There is topic of GROSS, but not Aube so...
Was listening "Pulse Resonator" LP+7" set on Praxis Dr. Bearmann label. 1995 release of his VCO recording. I consider this his best VCO works. Sound itself, is very close to basically every VCO recording Aube has done, but there is something more coherent about composition, despite it certainly is noise. Highly electric and often piercing sound, but not very ripping like loudest of the noise. More "artistic" with perfection on capturing the sonic qualities.
I was kind of horrified to notice that vinyl records have started to react with plastic sleeves. You know the type of sleeves often used for pic LP's. What during time start to "melt" and stick to covers or records. This has resulted LP surfaces to change color and I believe quite a bit of added surface noise. If you have this record, check out and I recommend putting some sort of paper sleeves to records even if it kind of ruins the packaging idea...
I prefer early works of Aube more, but there are lots of goodies. Lots of GROSS tapes are the most essential ones if you ask me!
AUBE early water noise
http://www.youtube.com/watch?v=uvVzzUCrsOw
AUBE metal:
http://www.youtube.com/watch?v=yVYhlCq-r6k
AUBE gloomy ambient works:
http://www.youtube.com/watch?v=U33yRZ8jpyU
Aube - hail the process. Take an idea and make it happen. Simple. Effective. He has made it happen and he has made it work. He has made his own oeuvre, he has made it happen and he has made the concept and the process the whole of what it is we experience. In a way he reminds me of Non and The Haters - take an idea and make it work. Aube's process, what is "good" and what is "bad" becomes a matter of the very pettiest reckoning. There are recording, for example "Set On" which I'm listening to right now, which take the very simplest idea and make it still simple and still an idea and make it something of worth, a listening pleasure where no one would expect it or even think of it. Beautiful sounds from the simplest sources using the simplest means. Hail the process.
Next morning edit - it was very likely I was in my cups when I wrote this. I'll stand by it, though. And a bit of Aube now might help with this hangover...
yeah - a real inspiration for me in my earlier days (well, still...!)
i have few GROSS tapes somewhere i think, the Reflux one too
as you say, the PROCESS...
that notion of rigorous sonic exploration of one idea, the purity of it...
first thing i ever heard by him was Cardiac Strain, still a big fan
http://www.youtube.com/watch?v=L-B94swwZX4 (http://www.youtube.com/watch?v=L-B94swwZX4)
I always thought the SAR 7" set was a perfect package. Almost like an amazing AUBE 'sampler'.
AUBE has definitely been a major influence when it comes to meditating on different specific sources.
I can't remember how his words went exactly, but the controversy he started back in the day when he pronounced that harsh noise was over and only colleagues like Merzbow and Incapacitants should be allowed to release material was intense.
second the "Quadrotation" 4x7" on Self Abuse...
never heard "Magnetostriction" before that sample, sounds really good though...
other favorites....
"Ricochetentrance" - maybe my favorite of the water works
"Across The Water" split LP w/ Small Cruel Party, more great water work
"Sigh In Depressive Blue" - guess I really like the water stuff best....
"Dasseinsspanne" split/collab 7" w/ Telepherique.... air provided by Telepherique as the source for collab track, wish this was LP length
"Sacrament" - 7", another short one that i wish was an LP, great drones
"Dazzle Reflexion"
"Flare"
"108" - bells, nice
probly forgetting some, and i'm sure there may be better choices but can only recommend what i have, and after acquiring those plus maybe a half dozen other not so great releases i feel i pretty much have all the Aube i need.
I think all the Aube i've gotten rid of was...
"Embers" CD
"Wired Trap" Cd
"Monochordattune" 7"
"Maze Head Shift" 7"
"Fast Tumbling Blaze" 7"
and all for the same reason - boring stuff to me, just seemed like he was going through the motions.... though for him personally maybe necessary steps to get to the greats.
It took me a long time to fully appreciate Aube; that is, in the context of noise. I liked a lot of what he did, but only began to consider worshipping after he put out the rather stunning Four Shrines collab set with Gomi, Mikawa, and Ohno. I was then reminded that Nakajima is credited for remix/composition for two of my favorite releases – Thirdorgan Cyclotron, CCCC Amplified Crystal (both the tape & the lp, which I guess makes three of my favorite releases.) That latter credit – composition, or re-composition – bears both my initial criticism and the glimmerings of the genius. With regard to composition, I was not convinced that his approach best served noise as I envisioned it- a lot of the power was stolen under the waves of glimmering sheen. But the Four Shrines studious workings-through of three of my major noise heroes shifted my slant. Some of the tracks were superb- if memory serves the four-way collab and the set with Ohno came out lovely. Very nice, densely layered, washes of pure psychedelia.
I'm still catching up and probably never will.
Just bought Aube's Flood-Gate album on Vanilla. Love at first listen. Very personal style unlike anything else I've heard. The Eno of Japanoise maybe?
Quote from: 13 on February 12, 2015, 09:03:38 PM
Just bought Aube's Flood-Gate album on Vanilla. Love at first listen. Very personal style unlike anything else I've heard. The Eno of Japanoise maybe?
probably my favorite album from him
Good first pick it seems! It somehow reminds me of a Noise version of Eno's On Land. A record that's very special to me.
I like Aube a lot but haven't heard everything. He was so prolific, especially into the 2000s that it was just impossible to keep up.
Releases I like:
Metal de Metal
Le Syndrome Aqutique
Flush
Flare
Substructural Penetration
Set On
Blood Brain Barrier
I think that is all I have now, other than some tracks on the RRR GROSS 4xtape box.
I will get my hands on a copy of Flood Gate. On Land is my favorite Eno album so that is an interesting comparison.
Jeff Greinke's Cities in Fog is another one that reminds me strongly of On Land.
Quote from: jadderly on February 12, 2015, 11:49:04 PMJeff Greinke's Cities in Fog is another one that reminds me strongly of On Land.
I'll have to look into that!
The only album I have by Aube is Flood-Gate, but it is so very special to me.
I've heard so much shit about the Millennium-series of his on Armonika but listening to the DLP from the same sessions (?) I find this is really enjoyable -- it IS his more minimal and not-so-loud sound, almost Pan Sonic at times, but it works well with me right now. Should I continue to stay away? Seems his later period records are selling CHEAP.
Talking about conceptual in other topic, not sure if one should say aesthetic noise in this case!
Aube "Metal De Metal" CD, like always, so based on idea, based on material, that it barely seems to reflect any human emotion. Label promo sticker describes this as "dark", but I fail to see what exactly is dark in Aube? It would be mostly just cold. I don't think it covered any sound material in a way that it would be warm or energetic. Most often mechanical. Loops, electronic processing, most often very industrialized sound sources.
Not in way as one often associates industrial-music, where its all transgressions, dirt and bleakness. With Aube you got the -materials- and -parts-. Glass, metal, water, flurescent lights, electricity. Even the earliest water records are not like "field recordings". Nothing natural in them, but like water in form of pipes, buckets, in some kind of utility usage...? Instead of synth, he'd have just production part - VCO buzzing. And so on. He had female voice as source in some releases, but that wouldn't make it more "warm" or feel to have humane touch.
On this CD, noise made out of junk metal, would be misleading. I guess Manifold also mentioned "ambient". For most part, this is not really noise, nor ambient per se. How metal is used, is pretty much opposition how it is used in noise. It gets noisy at times, but has always clarity, quiet and small elements, musicality in form of rhythm of loops and composition of layers. Never smashing, never dirty. Sounds pretty much just like the cover looks like. Shining, neat, clean, well made, industrial production line quality. Nevertheless, Aube worked by hand, as craftman, tweaking live tracks on mixer, building and playing songs rather than "editing". All these things contribute to the releases.
In short: Good stuff!
AUBE "Hydrophobia 1993" 12"
Cheeses International
Unreleased works. I was first little confused with this. There is 30 mins tape called Hydrophobia on Vanilla records, and this ain't 30 mins! I had to pull out clock and time this recording and yep, 20 minute one sider! So looking more carefully, and indeed, Hydrophobia is 1991 tape on vanilla, but this is recorded in 1993, and apparently been totally unreleased until now. Great stuff, though! Water noise in best early Aube tradition. Gets noisy too.
I think covers would have been nicer if they looked like Aube, since his graphic design was so crucial part of spirit of project. These look pretty darn amateurish design. What matters the most, is the sound is good, master cut seems clear and smooth, and to be able to get something I feel is golden era of Aube, I'm very thankful for people who made this possible!
I recently listened to the Sensorial Inducement LP, which I think is a very good album. Recorded in 1996 using a "Monophonic Analogue Synthesizer/ Roland SH-2". I remember the label's (Alien8 Recordings) description comparing it to early electroacoustic music such as Pauline Oliveros' Alien Bog/Beautiful Soop, and there's some similarity indeed. At times it gets intense, but not extremely noisy. I'm fond of this record for nostalgic reasons too: it was my first LP, ordered after it was released in early 2000, shortly after I found out there was a kind of music called noise and experimental music. The design of the packaging is simple but beautiful, and the (clear) vinyl (good pressing too) plays from the inside out.
Other than this record, the only other Aube I've kept (had a couple CDs but sold them) is the Aube/MSBR/Koji Marutani CD. I don't remember much of it (apart from the use of cool vocal samples) but it's a good release. It was another early noise purchase, perhaps in 2001; as usual back then, I sent cash hidden in an envelope to the French label (E(r)ostrate) that stopped its activities not long afterwards.
I also have one side of the Re-chant/De-coda 7" on Drone Records on a double CD compilation of 7"s on that label. I remember it being great, benefitting from the length constraint of the format.