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Tarab // Apophenia CD

Tarab // Apophenia CD

¥1,650
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A work released in March 2000 by Melbourne's acoustic artist Tarab, who has been active since the early 2020s and has also performed in Japan, from his own label Sonic Rubbish.Includes 3 sound sculptures drawn in his unique style that reconstructs environmental sounds.Giuseppe Ielashi is in charge of mastering.It is a digipak specification.


Sonic Rubbish Other works here /// Click here to see more Sonic Rubbish releases available at Tobira. 

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Tarab:

"Elements of this piece first appeared on the Aposiopèse compilation VIII. Sounds were then borrowed, discarded and re-arranged into a mix for the Ears Have Ears radio program (RIP). Further additions and subtractions were made, and over time it all de- Thank you: air conditioning units, bicarb soda, malfunctioning white goods, alleyways, constructions sites, trains, escalators, plastic bags, hollow vessels, floor boards and empty rooms."

--Mark Cutler - Tone Glow review

"It is too easy to lean on either the personal or geographic specificity of field recordings as a justification for their existence. The assumption is that the recordings themselves gain more significance as a kind of document of—or window into—a particular place or person's experience The title of this release, Apophenia, seems like a direct commentary on this tendency, apophenia being the all-too-human phenomenon of finding connections or meaning in unrelated, meaningless coincidences. On this album, Tarab forestalls any such effort by openly acknowledging That his source material comes from a number of disparate persons and places. Against the cliché image of the sound artist as the lone figure, stolidly lugging his equipment through abandoned factories and babbling brooks, whacking a steel chair with a cinderblock and muttering yes, excellent …, Tarab invites us to imagine the music as a fractured collage of many environments and experiences, intertwining to produce impossible juxta In this way, our attention is freed from any effort to identify the sources of the sounds, better to enjoy the meticulous arrangements. These pieces are both elegant and sparse, making ample. This is both a serious, challenging album and an excellent introduction to Tarab's body of work. "

Howard Stelzer --VITAL WEEKLY review

"The title is so clever, it nearly derails the usefulness of a review. Apophenia, according to The Skeptic's Dictionary, is" the tendency to mistakenly perceive connections and meaning between unrelated things ". Such distance from authorial intent invites listeners to hear this as Eamon Sprod, the artist behind the Tarab moniker, works predominantly (though not exclusively) with field recordings, as loaded a sound material as any. The temptation for a listener is to match sounds to But Sprod makes it clear in the title that such an interpretation would have as much validity as finding images in clouds or constellations. So never mind the suggestive litany of source sounds provided by the artist: bicarb soda , air conditioning units, escalators, floorboards and so on. Instead, let's talk about the industrial immensity and finely controlled drama of the piece. The music seems e ndlessly detailed, both legible and obscured at the same time, with a stellar control of tension. Not a second seems to be on autopilot. “Apophenia” begins with close crinkles, a swarm of small sounds that wrap themselves around the stereo field like angry gnats. This pulls a listener in, but Tarab is not about to let anyone rest; giant blasts hammer jarring juxtapositions between inhuman roar and reverberant emptiness. Metal bashing becomes hyperventilating, events heard at a distance are suddenly jump-cut screaming in your face and There are sections of recognizable rain, vocalizations just as suddenly warped sideways into multi-layered acoustic squeaks. Sections full of soft ambient howl are rudely interrupted by teeny sounds wrapped in gaspingly intimate silence. Delicate sections are rapidly intercut with screaming peals of heavy weather. (but not words), and human hands acting upon objects, but those do little to diminish the overall mystery and suspense. “Apophenia” concludes ona surprising note, twelve minutes of low frequency growl, the only track that remains in roughly the same sonic area for its duration, granting listeners time to rest and reflect after the death-defying bumper car ride that preceded it. "

Artist: Tarab

Label: Sonic Rubbish

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A work released in March 2000 by Melbourne's acoustic artist Tarab, who has been active since the early 2020s and has also performed in Japan, from his own label Sonic Rubbish.Includes 3 sound sculptures drawn in his unique style that reconstructs environmental sounds.Giuseppe Ielashi is in charge of mastering.It is a digipak specification.


Sonic Rubbish Other works here /// Click here to see more Sonic Rubbish releases available at Tobira. 

----------------------------

Tarab:

"Elements of this piece first appeared on the Aposiopèse compilation VIII. Sounds were then borrowed, discarded and re-arranged into a mix for the Ears Have Ears radio program (RIP). Further additions and subtractions were made, and over time it all de- Thank you: air conditioning units, bicarb soda, malfunctioning white goods, alleyways, constructions sites, trains, escalators, plastic bags, hollow vessels, floor boards and empty rooms."

--Mark Cutler - Tone Glow review

"It is too easy to lean on either the personal or geographic specificity of field recordings as a justification for their existence. The assumption is that the recordings themselves gain more significance as a kind of document of—or window into—a particular place or person's experience The title of this release, Apophenia, seems like a direct commentary on this tendency, apophenia being the all-too-human phenomenon of finding connections or meaning in unrelated, meaningless coincidences. On this album, Tarab forestalls any such effort by openly acknowledging That his source material comes from a number of disparate persons and places. Against the cliché image of the sound artist as the lone figure, stolidly lugging his equipment through abandoned factories and babbling brooks, whacking a steel chair with a cinderblock and muttering yes, excellent …, Tarab invites us to imagine the music as a fractured collage of many environments and experiences, intertwining to produce impossible juxta In this way, our attention is freed from any effort to identify the sources of the sounds, better to enjoy the meticulous arrangements. These pieces are both elegant and sparse, making ample. This is both a serious, challenging album and an excellent introduction to Tarab's body of work. "

Howard Stelzer --VITAL WEEKLY review

"The title is so clever, it nearly derails the usefulness of a review. Apophenia, according to The Skeptic's Dictionary, is" the tendency to mistakenly perceive connections and meaning between unrelated things ". Such distance from authorial intent invites listeners to hear this as Eamon Sprod, the artist behind the Tarab moniker, works predominantly (though not exclusively) with field recordings, as loaded a sound material as any. The temptation for a listener is to match sounds to But Sprod makes it clear in the title that such an interpretation would have as much validity as finding images in clouds or constellations. So never mind the suggestive litany of source sounds provided by the artist: bicarb soda , air conditioning units, escalators, floorboards and so on. Instead, let's talk about the industrial immensity and finely controlled drama of the piece. The music seems e ndlessly detailed, both legible and obscured at the same time, with a stellar control of tension. Not a second seems to be on autopilot. “Apophenia” begins with close crinkles, a swarm of small sounds that wrap themselves around the stereo field like angry gnats. This pulls a listener in, but Tarab is not about to let anyone rest; giant blasts hammer jarring juxtapositions between inhuman roar and reverberant emptiness. Metal bashing becomes hyperventilating, events heard at a distance are suddenly jump-cut screaming in your face and There are sections of recognizable rain, vocalizations just as suddenly warped sideways into multi-layered acoustic squeaks. Sections full of soft ambient howl are rudely interrupted by teeny sounds wrapped in gaspingly intimate silence. Delicate sections are rapidly intercut with screaming peals of heavy weather. (but not words), and human hands acting upon objects, but those do little to diminish the overall mystery and suspense. “Apophenia” concludes ona surprising note, twelve minutes of low frequency growl, the only track that remains in roughly the same sonic area for its duration, granting listeners time to rest and reflect after the death-defying bumper car ride that preceded it. "

Artist: Tarab

Label: Sonic Rubbish