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SoiSong
QXN948S

elektronika
Dais Records, 2022

Średnia ocena klientów: -    oceń

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winyl : 137,90 zł
na stanie
Nr kat.: DAISC3202
EAN: 683950556089
download code : tak
format : 12"LP
kolor : pomarańczowy
liczba nośników : 1
opakowanie : singlefold


nr tytuł play mp3
1 Kabuki-chop
2 Soijin No Hi
3 Koi Ru
4 Jam Talay Sai


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https://youtube.com/playlist?list=OLAK5uy_nDLxihAwp18cMW9yxaVyjOfaZU5Pn3iXo

Recorded in Bangkok 2008

Limited edition of 500 on transparent orange LP

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter “Sleazy” Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for ‘two’ along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago.

Pavlov characterizes SoiSong as less a musical group than a “utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority… more like a message from elsewhere that anyone is welcome to participate in and spread.” Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity.

qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in t
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