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Pierce Warnecke // Deafened By The Noise Of Time CD

Pierce Warnecke // Deafened By The Noise Of Time CD

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American sound artist Pierce Warnecke, who is a lecturer at Berklee College of Music in Barcelona, ​​Spain, will release the latest work from Australian sound label Room2022 in August 8.Below is a commentary by the author himself.

Deafened By The Noise Of Time is a speculative attempt at how sound decays and disappears, examining the inevitable entropy and decay of all things over time through four tracks. say.The title is borrowed from Julian Barnes' novel The Noise of Time, a fictional biography of Shostakovich.

I first started working on the material for this album for a performance at the Eglise Saint-Méry in Paris in 2017.After the concert, I started editing the music, struggling with the work, finding new flaws each time, and not being able to stick to the original compositional ideas.Frustrated, I decided to strip the musical content down to a more voluminous structure and look for other principles and processes to tie everything together.

Focusing on rusty, dirty, burnt or broken finds, the camera uses simple lighting and slow movement.I like the idea that these things are both modern and ancient, modern relics of a world that is constantly crumbling.I also like the idea of ​​being able to feel memories of things that have become almost unrecognizable.This pushes the back against the inevitability of impermanence.I love the act of salvaging and reusing discarded objects to shed a new, yet uncertain, light on them.I like to think of this as a sort of ritual transformation of "trash to treasure", the evocation of all of an object's past through imperceptible clues left on its surface.

In Deafened by the Noise of Time, I wanted to apply these ideas to sound and consider how certain musical ideas fade away through the accumulation of interference as a kind of sonic precipitation and erosion. rice field.External elements such as dialogue, field recordings, generative noise, silence, and inharmonic tones can be applied like rust covering metal, like memories fading, or as rubble accumulates and compresses things, turning them into stone. Cover the original music to keep it safe.In these works, 'time' is viewed as a constant burial of the present moment, allowing only small details of the 'now' (and things within it) to be seen as echoes to the future.

Labels and other worksClick here for the guidelines. ///Click here to see more Room40 releases available at Tobira.

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

Artist statement:

"'The darkness does not lift but becomes yet heavier as I think how little we can hold in mind, how everything is constantly lapsing into oblivion with every extinguished life, how the world is, as it were, draining itself, in that the history of countless places and objects which themselves have no power of memory is never heard, never described or passed on.' - WG Sebald, 'Austerlitz'

Deafened by the Noise of Time is a speculative take on how sound might decay and disappear; a reflection on the unavoidable entropy and dislocation of all things over time through 4 compositions, one with video. Noise of Time' (itself borrowed from Jewish Russian poet Osip Mandelstam), a fictional biography of Shostakovitch.

I first started working on the material for this album for a performance at Eglise Saint-Merry in Paris in 2017. Following the concert, I sat down to edit the music but struggled with the pieces, every time finding new flaws, unable to follow through with the original compositional ideas. together.

For this, I shifted focus to a long running part of my video practice: the deterioration of things over time, where I use my camera with simple lighting and slow movements to focus on rusty, dirty, burned or broken found objects. idea of ​​these things being both recent and ancient, contemporary artefacts of a world in constant decay. I like the idea of ​​being able to still sense memory on objects even when they've become almost entirely unrecognizable. I like how this pushes back against the inevitability of impermanence. I like the act of scavenging and reusing discarded objects to put them in new but uncertain light. I like to think of it as a kind of ritualistic transformation of 'trash-to-treasure', a conjuring of a thing's entire past through imperceptible clues left on it's surface.

For Deafened by the Noise of Time I wanted to apply these ideas to sound, and consider how a musical idea might disappear under an accumulation of interferences, as a kind of sonic sedimentation and erosion. External elements such as conversations, field recordings, generative noises , silence and inharmonic tones cover the original music similar to the way rust covers metal, or how memories dim and fade, or the way debris accumulates and compresses an object, casting it in stone. of the present moment, leaving visible only small details of the 'now' (and the things within it) as echoes towards the future."

Artist: Pierce Warnecke

Label: Room40

American sound artist Pierce Warnecke, who is a lecturer at Berklee College of Music in Barcelona, ​​Spain, will release the latest work from Australian sound label Room2022 in August 8.Below is a commentary by the author himself.

Deafened By The Noise Of Time is a speculative attempt at how sound decays and disappears, examining the inevitable entropy and decay of all things over time through four tracks. say.The title is borrowed from Julian Barnes' novel The Noise of Time, a fictional biography of Shostakovich.

I first started working on the material for this album for a performance at the Eglise Saint-Méry in Paris in 2017.After the concert, I started editing the music, struggling with the work, finding new flaws each time, and not being able to stick to the original compositional ideas.Frustrated, I decided to strip the musical content down to a more voluminous structure and look for other principles and processes to tie everything together.

Focusing on rusty, dirty, burnt or broken finds, the camera uses simple lighting and slow movement.I like the idea that these things are both modern and ancient, modern relics of a world that is constantly crumbling.I also like the idea of ​​being able to feel memories of things that have become almost unrecognizable.This pushes the back against the inevitability of impermanence.I love the act of salvaging and reusing discarded objects to shed a new, yet uncertain, light on them.I like to think of this as a sort of ritual transformation of "trash to treasure", the evocation of all of an object's past through imperceptible clues left on its surface.

In Deafened by the Noise of Time, I wanted to apply these ideas to sound and consider how certain musical ideas fade away through the accumulation of interference as a kind of sonic precipitation and erosion. rice field.External elements such as dialogue, field recordings, generative noise, silence, and inharmonic tones can be applied like rust covering metal, like memories fading, or as rubble accumulates and compresses things, turning them into stone. Cover the original music to keep it safe.In these works, 'time' is viewed as a constant burial of the present moment, allowing only small details of the 'now' (and things within it) to be seen as echoes to the future.

Labels and other worksClick here for the guidelines. ///Click here to see more Room40 releases available at Tobira.

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

Artist statement:

"'The darkness does not lift but becomes yet heavier as I think how little we can hold in mind, how everything is constantly lapsing into oblivion with every extinguished life, how the world is, as it were, draining itself, in that the history of countless places and objects which themselves have no power of memory is never heard, never described or passed on.' - WG Sebald, 'Austerlitz'

Deafened by the Noise of Time is a speculative take on how sound might decay and disappear; a reflection on the unavoidable entropy and dislocation of all things over time through 4 compositions, one with video. Noise of Time' (itself borrowed from Jewish Russian poet Osip Mandelstam), a fictional biography of Shostakovitch.

I first started working on the material for this album for a performance at Eglise Saint-Merry in Paris in 2017. Following the concert, I sat down to edit the music but struggled with the pieces, every time finding new flaws, unable to follow through with the original compositional ideas. together.

For this, I shifted focus to a long running part of my video practice: the deterioration of things over time, where I use my camera with simple lighting and slow movements to focus on rusty, dirty, burned or broken found objects. idea of ​​these things being both recent and ancient, contemporary artefacts of a world in constant decay. I like the idea of ​​being able to still sense memory on objects even when they've become almost entirely unrecognizable. I like how this pushes back against the inevitability of impermanence. I like the act of scavenging and reusing discarded objects to put them in new but uncertain light. I like to think of it as a kind of ritualistic transformation of 'trash-to-treasure', a conjuring of a thing's entire past through imperceptible clues left on it's surface.

For Deafened by the Noise of Time I wanted to apply these ideas to sound, and consider how a musical idea might disappear under an accumulation of interferences, as a kind of sonic sedimentation and erosion. External elements such as conversations, field recordings, generative noises , silence and inharmonic tones cover the original music similar to the way rust covers metal, or how memories dim and fade, or the way debris accumulates and compresses an object, casting it in stone. of the present moment, leaving visible only small details of the 'now' (and the things within it) as echoes towards the future."

Artist: Pierce Warnecke

Label: Room40