LHD // Limbs of the Fawn CD

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テキサスのノイズ作家Gerritt主宰レーベルMisanthropic Agenda諸作を入荷しました。

本作は、アメリカン・ハーシュノイズ作家Cherry PointとJohn WieseによるデュオLHD名義でのCDリリースです。癒しさえ感じる圧巻の重圧ハーシュノイズ作品です。4面デジパック、シュリンク仕様。

レーベルその他作品はこちら /// Click here to see more Misanthropic Agenda releases available at Tobira.

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

Misanthropic Agenda:

"Burning in hell with no relief. Double flamethrower unit.
Phil Blankenship (The Cherry Point) & John Wiese.
Los Angeles harsh city crust."

Artist : LHD

Label : Misanthropic Agenda

Quantity

+ -

テキサスのノイズ作家Gerritt主宰レーベルMisanthropic Agenda諸作を入荷しました。

レーベルその他作品はこちら /// Click here to see more Misanthropic Agenda releases available at Tobira.

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

Misanthropic Agenda:

"Burning in hell with no relief. Double flamethrower unit.
Phil Blankenship (The Cherry Point) & John Wiese.
Los Angeles harsh city crust."

Artist : LHD

Label : Misanthropic Agenda

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アメリカ・CAのノイズデュオMoth Drakulaが、2024年10月に同国テキサスの実験／ノイズレーベルMisanthropic AgendaからリリースしたCDです。物音コラージュ〜ノイズ・ドローン46分の大作です。デジパック、シュリンク仕様です。レーベルその他作品はこちら /// Click here to see more Misanthropic Agenda releases available at Tobira. ...

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クイックビュー {"id":8166941655290,"title":"Gerritt Wittmer \/\/ I Believe LP","handle":"gerritt-wittmer-i-believe-lp","description":"\u003cp\u003eアメリカ・\u003cspan\u003eテキサスのノイズ作家Gerritt Wittmer主宰レーベル\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMisanthropic Agenda諸作を入荷しました。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e本作は、オーナーGerritt Wittmerが、2018年にリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e物音コラージュ2曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/qABQW_4c5CM\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003ePeter J Woods:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eGerritt Wittmer is a sound and performance artist based in Houston, Texas. His work often articulates abstract narratives through vocal expression, body performance, and intense theatrical lighting. He is half the black noise group Deathroes and the vocalist for the band Names. He also directs the publishing house Misanthropic Agenda.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“Surprisingly enough, a good place to start with Gerritt Wittmer’s “I Believe” LP is in the modus operandi of pop music. For most platinum selling artists, the trick of the trade rests on the ability to completely strip every song of its individual signifiers and leave nothing but a contextual frame into which the listener can pour their own details. A love song about a particular person’s break up holds close to no appeal beyond the songwriter themself, but a song about break ups suddenly speaks to everyone who has ever had their heart broken (which is almost everyone). 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Maybe it’s best that the listener remains far away from the core thematics of these compositions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis deceptive nature in every sound, lyric, and compositional choice as each new element of leaves the listener guessing at its significance. The opening sample on the B side sounds like someone saying “Hi,” but how can you be sure? What are they actually saying? And what does it mean to Wittmer? Every sample on this record produces the same effect. The ringing phone, the skipping record, the industrial clatter, all of it hides so much significance and reveals so little. So much so that the identity of many of these sounds remains shrouded (is that a synth swell or someone screaming?). All of them repeating over and over without gaining a modicum of clarity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut beyond this guessing game lies the devastating core of the album: while the listener may not understand the significance of these disparate elements, Wittmer knows them all too well. And each repetition inflicts its trauma again. For the listener, every pass through these sounds lessens the impact as they meld into a singular soundscape. Yet one can’t help but imagine that the exact opposite happens for Wittmer, these moments becoming sharper and more devastating.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAnd then the record ends, its last moments stripped of any ornamentation with Wittmer speaking directly to you. Haunting phrases like “no chance for me, there’s nothing inside” barely croaked out in a delicate, fragile whisper. “I Believe” ends on the refrain “you exist in my mind,” letting the listener know that Wittmer saw you the whole time. He knew you were there, listening and searching. And now you have no choice but to return the favor:. as thought, Wittmer now exists in your mind, as much as you exist in his, and there’s no turning back (or away) anymore.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDevoid of comprehensible signifiers, “I Believe” isn’t an album that anyone finds themselves in. Instead, it’s an album where you and only you exist in communion with the artist. 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His work often articulates abstract narratives through vocal expression, body performance, and intense theatrical lighting. He is half the black noise group Deathroes and the vocalist for the band Names. He also directs the publishing house Misanthropic Agenda.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“Surprisingly enough, a good place to start with Gerritt Wittmer’s “I Believe” LP is in the modus operandi of pop music. For most platinum selling artists, the trick of the trade rests on the ability to completely strip every song of its individual signifiers and leave nothing but a contextual frame into which the listener can pour their own details. A love song about a particular person’s break up holds close to no appeal beyond the songwriter themself, but a song about break ups suddenly speaks to everyone who has ever had their heart broken (which is almost everyone). In this sense, a song about nothing suddenly becomes a song about anything for anyone.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTo a certain extent, Wittmer pulls the same sleight of hand on “I Believe” but changes one key detail: he doesn’t strip the album of its individual signifers but instead buries them under layers of mystery. This gesture produces a sense of cognitive whiplash on\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e every listen by deceiving the listener into thinking that they may find themselves within this record, only to violently push them back out while simultaneously sounding a warning that this place isn’t for you. Fragments of Wittmer subtly peak through the folds, revealing a terrifying and hopeless worldview that can only be described as inhospitable at best. Maybe it’s best that the listener remains far away from the core thematics of these compositions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis deceptive nature in every sound, lyric, and compositional choice as each new element of leaves the listener guessing at its significance. The opening sample on the B side sounds like someone saying “Hi,” but how can you be sure? What are they actually saying? And what does it mean to Wittmer? Every sample on this record produces the same effect. The ringing phone, the skipping record, the industrial clatter, all of it hides so much significance and reveals so little. So much so that the identity of many of these sounds remains shrouded (is that a synth swell or someone screaming?). All of them repeating over and over without gaining a modicum of clarity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut beyond this guessing game lies the devastating core of the album: while the listener may not understand the significance of these disparate elements, Wittmer knows them all too well. And each repetition inflicts its trauma again. For the listener, every pass through these sounds lessens the impact as they meld into a singular soundscape. Yet one can’t help but imagine that the exact opposite happens for Wittmer, these moments becoming sharper and more devastating.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAnd then the record ends, its last moments stripped of any ornamentation with Wittmer speaking directly to you. Haunting phrases like “no chance for me, there’s nothing inside” barely croaked out in a delicate, fragile whisper. “I Believe” ends on the refrain “you exist in my mind,” letting the listener know that Wittmer saw you the whole time. He knew you were there, listening and searching. And now you have no choice but to return the favor:. as thought, Wittmer now exists in your mind, as much as you exist in his, and there’s no turning back (or away) anymore.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDevoid of comprehensible signifiers, “I Believe” isn’t an album that anyone finds themselves in. Instead, it’s an album where you and only you exist in communion with the artist. A communion as terrifying as it is intimate.\"\u003c\/span\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Gerritt Wittmer\u003c\/p\u003e\n\u003cp\u003eLabel : Misanthropic Agenda\u003c\/p\u003e"}

アメリカ・テキサスのノイズ作家Gerritt Wittmer主宰レーベルMisanthropic Agenda諸作を入荷しました。本作は、オーナーGerritt Wittmerが、2018年にリリースしたレコードです。物音コラージュ2曲を収録。 Peter J Woods: "Gerritt Wittmer is a sound...

¥3,338

クイックビュー {"id":8165937971450,"title":"Méryll Ampe \/\/ W7E CD","handle":"meryll-ampe-w7e-cd","description":"\u003cp\u003eフランスの音響作家／彫刻家／インターメディアアーティストMéryll Ampegaが、2022年11月にアメリカ・テキサスの実験／ノイズレーベルMisanthropic AgendaからリリースしたCDです。\u003c\/p\u003e\n\u003cp\u003e物音コラージュ〜マイクロスコピック・ノイズテクノ8曲を収録。デジパック、シュリンク仕様です。\u003c\/p\u003e\n\u003cp\u003e以下、Jim Haynesによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003eパリ出身のインターメディアアーティスト、メリル・アンペの作品には、様々なプロセス、テクニック、フォームが展開され、様々な素材を用いてサウンド、彫刻、インスタレーションを制作しています。アンペの作品ですぐに目を引くのは、エレクトロ・アコースティック・コンポジションに対する生き生きとしたノンリニアなアプローチです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMisanthropic Agendaでのデビュー作である本作では、皮膚の振動を録音したハイドロフォン、アナログシンセ、テープの加工、アルゴリズムの可変性によってプログラムされたシーケンス、そして多くのデジタル処理など、あらゆる音源を自由に再構成／分解／遺伝子変異させています。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eW7Eの音楽は、「実験的な次元での研究であり、内と外、ミクロとマクロの間の両義性を体系的に翻訳する概念に導かれている」とAmpeは説明します。これらの意図は、ダイナミクス、レリーフ、深み、リズムのベクトルです。ビジュアルアーティストとしての私のトレーニングは、私がシンコペ、サウンドエフルヴィア、摩耗性不整脈と表現するような状態、サウンドフォームを見つけることになるメンタルイメージ（険しい風景、沸騰する有機物、有機物など）を通過することにもつながっているのです。私は音の媒体に可塑性の形を求め、このエネルギーが生きた物質となることを期待しています。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこの多次元的なオーバーレイは、心理状態に影響を与えることのできるテクノロジーとの接続を通して、身体（必ずしも人間の身体とは限らないことに注意しなければならない）の中や外へと伸縮する構成になっています。この作品は、限界性、一過性のズレ、そして粒子が2つの別々の場所に同時に存在するという量子論に取り組んでいます。もしそれが原子レベルで起こりうるのなら、なぜ音を通しては起こらないのでしょうか？\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eW7Eは、キース・フラートン・ホワイトマン、フランシスコ・メイリーノ、バーナード・パルメジャーニの美学（コンセプトではないとしても）を反映した、ダイナミックでポリダクティルなアルバムとして成立しているのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2535376268\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/miag\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/miag\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/miag\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/miag\"\u003ehere\u003c\/a\u003e to see more Misanthropic Agenda releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-------------------------------\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eJim Haynes\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e via Misanthropic Agenda:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"A multitude of processes, techniques, and forms unfold and unfurl within the work of Méryll Ampe, an intermedia artist from Paris working through sound, sculpture, and installation using a wide assortment of materials. What is immediately striking about Ampe’s work is the vibrant, non-linear approach to electro-acoustic composition.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHere on the debut for Misanthropic Agenda, Ampe liberally reconfigures \/ deconstructs \/ genetically mutates all sources: hydrophone recordings of vibrations through skin, analog synths, tape machinations, sequencing programmed through algorithmic variability, and plenty of digital processing.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs Ampe describes it, the music on W7E is \"a research with an experimental dimension, guided by notions that systematically translate a form of ambivalence, between inside\/outside, micro\/macro. These intentions are vectors of the dynamics, reliefs, depths and rhythm. My training as a visual artist also leads me to go through mental images (such as a steep landscape, a boiling organism, an organic matter) which will then find a sound form, states that I would describe as syncope, sound effluvia, abrasive arrhythmias. I look for a form of plasticity in the sound\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e medium, and that this energy become a living matter.\"\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis multi-dimensional overlay through composition telescopes in and out of the body (not necessarily always a human body, it should be noted), through a connectivity with technology that can influence psychological states of being. The work addresses liminality, transitory slippages, and quantum theories of a particle being the two separate places at the same time. If that can occur at the atomic level, why not through sound?\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eW7E stands as a dynamic, polydactyl album reflective of the aesthetics (if not concepts) of Keith Fullerton Whitman, Francisco Meirino, and Bernard Parmegiani.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Méryll Ampe\u003c\/p\u003e\n\u003cp\u003eLabel : Misanthropic Agenda\u003c\/p\u003e","published_at":"2024-02-05T17:43:13+09:00","created_at":"2024-02-05T17:42:38+09:00","vendor":"Tobira Records","type":"","tags":["cd","drone","Misanthropic Agenda","monooto","new","noise","techno \/ house"],"price":218000,"price_min":218000,"price_max":218000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45147401224442,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Méryll Ampe \/\/ W7E CD","public_title":null,"options":["Default Title"],"price":218000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/am1_52a305c4-7216-45e7-aa4a-d8c660e3e2e8.jpg?v=1707122562","\/\/tobirarecords.com\/cdn\/shop\/files\/am2_1a4dfc73-1713-4ca4-a583-bec1133b4be5.jpg?v=1707122562"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/am1_52a305c4-7216-45e7-aa4a-d8c660e3e2e8.jpg?v=1707122562","options":["Title"],"media":[{"alt":null,"id":33120423969018,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/am1_52a305c4-7216-45e7-aa4a-d8c660e3e2e8.jpg?v=1707122562"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/am1_52a305c4-7216-45e7-aa4a-d8c660e3e2e8.jpg?v=1707122562","width":700},{"alt":null,"id":33120424001786,"position":2,"preview_image":{"aspect_ratio":1.112,"height":1079,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/am2_1a4dfc73-1713-4ca4-a583-bec1133b4be5.jpg?v=1707122562"},"aspect_ratio":1.112,"height":1079,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/am2_1a4dfc73-1713-4ca4-a583-bec1133b4be5.jpg?v=1707122562","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランスの音響作家／彫刻家／インターメディアアーティストMéryll Ampegaが、2022年11月にアメリカ・テキサスの実験／ノイズレーベルMisanthropic AgendaからリリースしたCDです。\u003c\/p\u003e\n\u003cp\u003e物音コラージュ〜マイクロスコピック・ノイズテクノ8曲を収録。デジパック、シュリンク仕様です。\u003c\/p\u003e\n\u003cp\u003e以下、Jim Haynesによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003eパリ出身のインターメディアアーティスト、メリル・アンペの作品には、様々なプロセス、テクニック、フォームが展開され、様々な素材を用いてサウンド、彫刻、インスタレーションを制作しています。アンペの作品ですぐに目を引くのは、エレクトロ・アコースティック・コンポジションに対する生き生きとしたノンリニアなアプローチです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMisanthropic Agendaでのデビュー作である本作では、皮膚の振動を録音したハイドロフォン、アナログシンセ、テープの加工、アルゴリズムの可変性によってプログラムされたシーケンス、そして多くのデジタル処理など、あらゆる音源を自由に再構成／分解／遺伝子変異させています。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eW7Eの音楽は、「実験的な次元での研究であり、内と外、ミクロとマクロの間の両義性を体系的に翻訳する概念に導かれている」とAmpeは説明します。これらの意図は、ダイナミクス、レリーフ、深み、リズムのベクトルです。ビジュアルアーティストとしての私のトレーニングは、私がシンコペ、サウンドエフルヴィア、摩耗性不整脈と表現するような状態、サウンドフォームを見つけることになるメンタルイメージ（険しい風景、沸騰する有機物、有機物など）を通過することにもつながっているのです。私は音の媒体に可塑性の形を求め、このエネルギーが生きた物質となることを期待しています。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこの多次元的なオーバーレイは、心理状態に影響を与えることのできるテクノロジーとの接続を通して、身体（必ずしも人間の身体とは限らないことに注意しなければならない）の中や外へと伸縮する構成になっています。この作品は、限界性、一過性のズレ、そして粒子が2つの別々の場所に同時に存在するという量子論に取り組んでいます。もしそれが原子レベルで起こりうるのなら、なぜ音を通しては起こらないのでしょうか？\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eW7Eは、キース・フラートン・ホワイトマン、フランシスコ・メイリーノ、バーナード・パルメジャーニの美学（コンセプトではないとしても）を反映した、ダイナミックでポリダクティルなアルバムとして成立しているのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2535376268\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/miag\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/miag\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/miag\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/miag\"\u003ehere\u003c\/a\u003e to see more Misanthropic Agenda releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-------------------------------\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eJim Haynes\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e via Misanthropic Agenda:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"A multitude of processes, techniques, and forms unfold and unfurl within the work of Méryll Ampe, an intermedia artist from Paris working through sound, sculpture, and installation using a wide assortment of materials. What is immediately striking about Ampe’s work is the vibrant, non-linear approach to electro-acoustic composition.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHere on the debut for Misanthropic Agenda, Ampe liberally reconfigures \/ deconstructs \/ genetically mutates all sources: hydrophone recordings of vibrations through skin, analog synths, tape machinations, sequencing programmed through algorithmic variability, and plenty of digital processing.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs Ampe describes it, the music on W7E is \"a research with an experimental dimension, guided by notions that systematically translate a form of ambivalence, between inside\/outside, micro\/macro. These intentions are vectors of the dynamics, reliefs, depths and rhythm. My training as a visual artist also leads me to go through mental images (such as a steep landscape, a boiling organism, an organic matter) which will then find a sound form, states that I would describe as syncope, sound effluvia, abrasive arrhythmias. I look for a form of plasticity in the sound\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e medium, and that this energy become a living matter.\"\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis multi-dimensional overlay through composition telescopes in and out of the body (not necessarily always a human body, it should be noted), through a connectivity with technology that can influence psychological states of being. The work addresses liminality, transitory slippages, and quantum theories of a particle being the two separate places at the same time. If that can occur at the atomic level, why not through sound?\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eW7E stands as a dynamic, polydactyl album reflective of the aesthetics (if not concepts) of Keith Fullerton Whitman, Francisco Meirino, and Bernard Parmegiani.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Méryll Ampe\u003c\/p\u003e\n\u003cp\u003eLabel : Misanthropic Agenda\u003c\/p\u003e"}