Announcing two new CD releases available now from adhuman.
Both discs are £11 each or available for £20 as a bundle deal when purchased together. Prices not inclusive of P&P. Contact
info@adhuman.co.uk to order direct. Distros and shops are welcome to get in touch
www.adhuman.co.uk
https://adhuman.bandcamp.comLuciano Maggiore & Louie Rice - Three Things
Three Things is a new full-length album of pieces conceived, performed and recorded by long-term collaborators Luciano Maggiore and Louie Rice. The pair are known for multi-pronged activities as artists and organisers which have quietly but surely informed the shape of the United Kingdom's experimental audio underground for many years. Under the guise of NOPAON, they developed a series of events and performances in which they realised scores by Alvin Lucier, Robert Bozzi, Ken Friedman, Emmet Williams, Walter Marchetti and of their own creation. These outputs, described by the duo as 'unrewarding task-based actions' or simply 'two people in a room, doing something' have resulted in an ongoing performance practice based on prompts actions and scenarios which they continue to explore.
A persistent quality in Maggiore and Rice's work is a wilful embrace of humour and the acknowledgement of their performances as a basis for absurdity. This element runs throughout Three Things, starting with Hissing for White Shoes (#6), where an otherwise unremarkable recording of a drive around London is punctuated by loud hissing whenever their vehicle passes an unwitting participant in the street, their footwear acting as a prompt for the vocal intervention. The same sense of humour looms large in Pocket Fascinator (#7) where audio derived from EMS Stockholm's Buchla synth is played back and re-recorded via mobile phone speakers in the duo's pockets as they attempt to walk in sync with its pulses. Phone Work, the first piece realised outside of the project's typical real-time approach, is a sequence of voice recordings exchanged via WhatsApp where they mimic each other's contributions until all memory of the original has been lost. The results are set to synthesiser in a nod to the duo's long-standing interests in electronic music as solo artists.
Like everything Maggiore and Rice turn their hands to, the maddening audacity of Three Things is fundamentally driven by sincere observations of the historic avant-garde. At the heart of these recordings lurk conceptual strategies recalling the core methodological projects of Fluxus, classical sound poetry, field recording, electronic music, movement-based performance and contemporary composition. Their willingness to direct such methods toward nakedly silly outcomes whilst poking subtle fun at the emergent tropes of these cultures reinforces an entirely serious inquiry into the modern-day application of avant-garde technique in sound creation. When accepted in full, Three Things is a challenging, amusing assertion of genuine commitment to experimentation and aesthetic stress-testing.
Thomas DeAngelo - Voiceprints & Aircuts: Sound Poetry By Other Means
Thomas DeAngelo, known otherwise as T.D. or for his participation in Melkings, Zwangsbeglucktertum, Association Copy as well as his sadly departed Crisis of Taste label/mailorder, returns following his well-received Nothing New Under the Sun cassette (Gift of Music, 2022). From a distinctly leftfield position relative to the gnarled, textural tape noise works of this last output, DeAngelo in Voiceprints... offers an obscure, bloody-minded take on Sound Poetry and voice-based sound art over the course of this full length CD album.
In his own words....
'According to Enzo Minarelli, the Italian pioneer of Polypoetry, "every poet needs a theory." On this new Gesamtkunstwerk, "Voiceprints & Aircuts", the theory proffered is that of "Sound Poetry By Other(s) Means".
With pince-nez tilted towards nothing less than the failure of the Avant Garde to realize itself, "Sound Poetry By Other Means" utilizes the strategies of circa-mid 20th century audio poems as a vehicle for this virtual history tour. The various deficiencies, missteps, gear fuck ups and general atmosphere of "Why?" all bleed into the smudged margins to reinforce the cart-before-horse nature of producing art indifferent to, nay, incapable of commodification within a cratering Marketplace of Ideas. While the message is by no means optimistic it is voiced in an unaffected, at times even joyous register befitting the paradox of post-End of History déclassé unfreedom.
Although intended to be taken as a whole, audience members antagonistic to such prescriptive formalities may still find plenty of meat in the purely sonic form of alienation the disc provides.'
