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francisco lopez-Warzawa and Untitled 91



 
> With Warzawa Restaurant, on the other hand, I heard nothing other than the
> dust mites until a sublime noise poked its way in at about the 45-minute
> point and then left the rest of the album to silence.  The noise came not
> from my speakers but from my window, courtesy of a passing motorcycle, so I
> suppose Cage was "sampled" for the piece.

Warzawa Restaurant came alive for me after a major upgrade to my sound
system.  With the introduction of wide range speakers and a fairly powerful
subwoofer, I found that every track on the disc is quite audible and
actually pretty "active" in a microsound kind of way.  It is my favorite FL
work, and I enjoy listening to it at high volume, at night, computer fans
and fish tank pumps and any noise makers shut off, heavy curtains drawn,
phone pulled.  It is basically an ultra-low and totally immersive
experience, and unlike the ominous and enjoyable sense of icy dread I get
from Koner - Lustmord - Superficial Depth type low-end sound, Warzawa
Restaurant feels rather optimistic and peaceful...  Strangely enough, WR is
one of those recordings that my non-microsound-relating friends actually
claim is "kinda cool"

> I'd avoided his recordings, actually, understanding them all to be virtually
> inaudible.  A lovely concept, I thought, but I already have a few discs of
> RLW that do the same thing; did I need more?

The only FL work I would stick in the "virtually inaudible" catagory would
be "Untitled 91" from 1999 (there may be others I havent heard)  Fifty-eight
minutes of nothing really.  About 3:50 into it - an *ultra* LOW rumble... a
few of those pop up as the disc progresses.  There is also a growing
cavernous sound mixed *very* low... way down into the hiss if you turn it
all the way up on a receiver with some power... this sound changes in
character about half way thru the disc, and grows in volume (slightly) then
fades away at 41 minutes... and nothing in the last 15 except some *deeply*
masked and curious high glitchy tones that happen with about 4 minutes left
to go... but you can't hear 'em unless the volume is maxed.

The main bulk of the content of this recording seems to be intentionally
masked, and the periodic low-end events can only be heard on appropriate
sound systems, so it leaves me to wonder about the intentions behind
Untitled 91.  I remember when it came out, and there were some people upset
by it... I bought it basically because b. gunter mixed and mastered it.  I
would be interested to hear opinions and thoughts about this disc...

jjustice

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