Tinnitus Flowers est composé d’improvisations enregistrées en avril et mai 2018. Les deux premiers morceaux sont des sessions entières, le 3ème un extrait d’une session plus longue. L’album a été publié en juin 2019 par le netlabel Pan Y Rosas.
[English] Improvisations recorded April and May 2018. Tracks 1 & 2 contain no edits. Track 3 was edited from a longer improvisation. Released June 2019 by netlabel Pan Y Rosas.
Magali Albespy : Moog mother 32, soundbox
Kecap Tuyul : no-input mixer, effects, mix
Review by TJ Norris on toneshift.net, 24 June 2019
In three numbered tracks the Parisian duo of Magali Albespy and Kecap Tuyul bring an assortment of unique effects, synths and improv. The setting is sparse, aided but electrical currents and twisted frequencies in what sounds like the manipulation of amplified tapeheads at first. This abstract fest has all sorts of bells and whistles going off and on with a free experimental flourish that is timeless.
Simple hummed refrains mix with unhinged electronics that are playful at times (like the incidental anthem sounds at a ball game), and mostly hacking knobs and other gizmos. Even the title, Tinnitus Flowers, wreaks of a pun played upon the casual listener. Heck, make lemonade, people! The pitched squeals and revs and mysterious muttering sounds like sames from warehouse tone-tests (or hearing test), remixed for maximum impact. This is a new wave in musique concrète.
M.A.K.T. Sono doles out a similar, and even longer form variation on the first work, but on the second piece there is a clear pace, held in place by a rounded tone repeated at short intervals. The noise handling seems to be far more organized here, still bloated with fragmented effects that seem to utilize the breadth of vibration and frequency within the sound spectrum with curious results. The pulsation begins to dominate alongside some physical paper crinkling, whistling scrapes and wild decibels.
On the final track I’m reminded of that sparse decibel porn in the moments between John Foxx’s seminal Metamatic and Kraftwerk’s Radioactivity or Geiger Counter – of course it’s stripped of any emphasis on pop and ends up chugging like a freight train, banging its own drum, twisting and wielding wildly down the track. It is within the unexpected results that these two sound shapers are to some extent having to respond and catch up with at moments where velocity overshadows nuance. Though the promising premise is that they seem to physically get deep into the fluctuation, kind of wrangling the noise as if cattle herders. It’s beyond simple experimentation for the sake of a jam session, these two are genuinely sculptors of flux.