Yuri Kalendarev - Sound Sculptures (Die Schachtel, 2007)

1 Dream 4:37
2 Kursk I 3:51
3 Kursk II 19:51

Belonging to the generation of underground “non-conformist” artists, the dissidents of the 70s, Yuri Kalendarev has employed various media to develop the outcome of his research that explore the intersection of sculpture and sound vibrations. He came upon the sonic possibilities of his work after 30 years of working with granite, land art and light projects.
His Sound Plates are forged out of acoustic bronze compounds using hammers and fire, in order to generate a large range of frequency oscillations that allow multiple interactions with the listener’s inner being. Yuri’s bronze “Sound Plates” are designed to create massive low-frequency drones and midrange howls, capable of creating a wide variety of deep percussive sounds. In redefining the concept of sculpture in pure sound terms, the work of Yuri Kalendarev extends an explores a new aural experience beyond the sound itself, an investigation into the realm of “pure acoustics”.
The performances captured on this CD represent the crystallization of the physicality of Kalendarev’s sound sculpture - a set of ten resonating sound plates - his attitude to rhythm, to the persistence of sound itself, and his ability to create an atmosphere of deep concentration, silent communion, and mystery.
Die Schachtel

The first “affordable” entry into die schachtel’s “art series” - a series of subdued metal-resonance studies performed by russian artist yuri kalendarev on his “sound plates” - “ten resonating bronze sculptures forged with hammer and fire” ... completely mysterious, fits right in with the grand canon of audible art from the brothers baschet through robert rutman et.al. typically lavish item to boot... highly recommended.
Miramoglu

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Stephan Mathieu - Radioland (Die Schachtel, 2008)

1		Raphael (10:04)
2		Gabriel (10:02)
3		Michael (10:08)
4		Promenade (5:06)
5		Auf Der Gasse (5:03)
6		Licht Und Finsternis Zum Auge (8:20)
7		Prolog Im Himmel (7:05)

In recent years Stephan Mathieu has composed some of the very finest examples of what the microsound movement has to offer: most recently 2006's Hidden Name (Cronica) with Janek Schaefer, and before that 2004's Pieces Of Winter (Sirr) with John Hudak. Until now, the release of The Sad Mac on Japanese imprint Headz was the most recent solo recording from Mathieu, and deservingly, it found him a good deal of acclaim in the press, but Radioland sounds like a real step up for the composer and is without question one of the most beautiful albums you'll see and hear in 2008. The album takes shortwave radio signals as its starting point, meaning Mathieu instantly invites comparisons with Tod Dockstader and William Basinski, but while there's often a grainy, hazed over murk to those works, Mathieu somehow brings a luminosity and brightness out of his sources. The opening trilogy of pieces (each named after an archangel) makes for an utterly absorbing half-hour sequence, each composition spanning an immersive ten minutes of analogue-mastered, carefully processed signals. To some of the less ardent drone disciples out there, it might be difficult to accept that certain records ascribing to that format can be radically better than others, but Radioland really is. The detail, subtlety and physicality of this music transcends the norm by quite some measure, with the most involved, elaborate pieces sounding positively symphonic. Further to that, a special mention should be given to the presentation of this album: it comes in a beautiful, oversized plexiglass case with an acetate foldout cover, and the CD itself is transparent - I don't really understand what devilry makes that possible but apparently it is. In any case, this is a thing of luxurious, opulence and beauty, but doesn't nearly match the effervescent brilliance of the music it houses. Brought to you with the highest possible recommendation - "Radioland" is a real treasure that should not be missed.

Boomkat

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