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I’m Lost by Tarab

Tarab

I’m Lost
23five

A schizoid-concrete opus of environmental sounds heightened, stimulated, decontextualized, and teased into a psychic puzzle of industrialized and post-industrialized detritus, I'm Lost marks another milestone in the ever impressive catalogue from Australian sound-artist Eamon Sprod, who adopts the moniker Tarab for his endeavors. The title is one that explodes with a multitude of meaning. There's the geographical frustration in losing one's way as the surrounding landmarks fail to match with whatever technology may be in use (e.g. a sextant, a compass, an iPhone, a torn map, one's poor memory of a childhood neighborhood, etc.). There's the psychological implications of being lost from the existential narratives that we have scripted for ourselves due to broken relationships, failed jobs, dead relatives, natural disasters, the hand of God, etc. In addition to these possibilities, Sprod proposes that the notion of "lost" could also be an inversion of the idea of the "found object" or the "found sound," instead becoming the "lost object" or the "lost sound." Sprod's semantic wordplay is hardly a conceptual gimmick, as he fully immerses himself in the confusional framework while maintaining a consummate technical prowess over his field recordings. The compositional approach is rhizomatic, with dead-ends, wrong turns, and reprisals of these same dead-ends and wrong turns, offering a blackhumor sneer at the stubbornness of humanity's inability to learn from our mistakes (e.g. pollution, blight, poverty, disease, etc). Within the album's harsh edits and disjointed collages, Sprod renders sound with dysphoric associations through his vacant drift, crumbled gravel, scalding...

CD $17.25

07/01/2014 801673901928 

23FIVE 019 CD 


MP3 $7.99

06/24/2014 801673901928 

 


FLAC $9.90

06/24/2014 801673901928 

 


***MARC ZEIER’s first major album since the cryptic electro-acoustic Reuters (Tochnit Aleph 2008) is a sprawling masterpiece of modern day musique concrete, reflecting the early pioneers’ use of razor cut tape with a grandiose revelation of an existential horror. Zeier describes is as a manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being. For every malignant drone and turgid thrum, Zeier punctures fluttering, frozen methane surfaces with jagged incisions, pneumatic hammerings, and decompressed gasps. This fragmented punctuation is a signature to the G*PARK aesthetic, used effectively in mapping clinical situations turned septic. The exact nature of the sound object is informed more by a shadowy deconstruction than by a direct representation, thrust into an absurd existence as an abomination, a violation, a monster.

2XCD $15.00

10/01/2013 801673901829 

23FIVE 018 CD 


MP3 $9.90

09/24/2013 801673901829 

 


***RICHARD GARET has employed photosensors to control a particular audio signal through the erratic nature of a violently pulsing abstract film; he has also flooded a performance space with fog to disperse multi-channel video work into an ephemeral yet sculptural mass, accompanied by an equally diffused sound design. His ongoing research in interference continues here with electromagnetic disturbances through radio: the process of transmission and reception is treated as a routing system for the audio signal, while the nodes that direct the course of that signal are deliberately agitated and distressed. For example, an electrical motor might be situated near a radio's antenna, disrupting its ability to properly receive a transmission. Through the controlled use of electro-acoustic techniques (some rough and volatile, some refined and delicate), he organizes the signal distortion, the crackling static, and the ever-present tendencies for feedback into swarms of chiming resonance, electrically sourced harmonics, tactile bricolage, and impressionist din.

CD $13.50

03/06/2012 801673901621 

23FIVE 016 CD 


MP3 $9.90

02/28/2012 801673901621 

23FIVE 016 


Vanishing Point by Kahn, Jason

Kahn, Jason

Vanishing Point
23five

***The American sound-artist JASON KAHN is an exacting technician when it comes to the principles of noise. However, his application of noise in composition is not that of Merzbow or Masonna, with teeth-gnashing explosions of distortion, feedback, and volume; rather, Kahn's psychoacoustic techniques employ the specific frequencies of white, pink, brown, and blue noise in works that reflect the ideals of minimalism. These are sounds that regularly occur through the constant vibration of machinery; and Kahn is more than happy to appropriate such events through field recording. He also generates complementary noises through systems that involve the rattling architecture of a drum kit and an analog synthesizer. For all of the phenomenological studies and stoic mesmerism attributed to much of Kahn's catalogue, Vanishing Point is a subtle and hypnotic elegy for rattling metals, timbral vibration, gossamer static, hissing field recordings, and those aforementioned colored noises.

MP3 $9.90

06/22/2009 801673901522 

 


Take All The Ships From The Harbour, And Sail Them Straight Into Hell by Tarab

Tarab

Take All The Ships From The Harbour, And Sail Them Straight Into Hell
23five

***Corroded locations where mankind has scarred the surface of the Earth feature prominently in the work of Melbourne based sound artist EAMONN SPROD, documented through field recording and sympathetic actions with found objects from those sites. One such location that features prominently in Take All of the Ships... is Angel Island in the San Francisco Bay. Once the home of an immigration station at the turn of the 20th Century and later a Nike Missile site for the US military, Angel Island now rests in the hands of the US National Park Service, which has left some of the buildings to succumb to the forces of decay. From the sounds culled from this site and others closer to his antepodean home, TARAB diligently overlays and stitches together a highly tactile composition with very few digital treatments. As the opening ominous rumble, with its frequencies appearing to emerge from the center of the Earth and liquefying the surface upon impact, ebb and flow, Tarab unveils a revolving series of exaggerated details from a hyperbolic gash of two heavy pieces of metal grinding against themselves to a toxic chorale of nighttime insects to sand, wind, and surf detourned into sedimentary white noise. Tarab's compositional sensibility shifts throughout the album, at first sparsely situating these sounds into shadowy vignettes. Gradually, an arcing crescendo exhibits sustained harmonics rarely heard in the best of the contemporary dronemusik technicians, much less from the realm of sound ecology.

MP3 $9.90

06/22/2009 801673901423 

 


***AVAILABLE AGAIN!!! A central figure in Boston's sound art vanguard, Brendan Murray specifically shapes his repetitions and sinewy tonalities within the rigors of compositional frameworks and temporal restraints, setting himself apart from the conventional wisdom that drone-based music is an open-ended exercise into the "realm of the infinite." A single crescendo terminating at the end of forty-nine minutes, this epic investigates subtle harmonics and overtones expressed through layered slippages of pure sound conceived through guitar, analog synthesis, and plenty of digital manipulation. A worthy parallel to the work of Phill Niblock, Eliane Radigue, and Iannis Xenakis.

MP3 $9.90

04/21/2008 801673901324 

 


Radio Ghosts by Catlin, Tim

Catlin, Tim

Radio Ghosts
23five

***The name TIM CATLIN may not be terribly well known amongst the avant-guitarist circles; but his recorded output clearly stands amongst the best that Glenn Branca, Keith Rowe, and Jim O'Rourke have mustered from their six strings hard wired into the histories of electroacoustics, minimalism, and post-punk experimentation. Based out of Melbourne, Catlin is a guitarist who incessantly tinkers with the mechanics of his instrument, envisioning it as alternately as a mimetic sculptural object and a pure sound generator. Through his experiments with alternative tunings, atypical string gauges, and Rube Goldberg contraptions of interconnected motors, speakers, and radios, he seeks out the rasping textures of strings vibrating against each other, the acoustic phase patterns of two microtonally tuned strings, and the electrical purity of circuits feeding back upon themselves, essentially creating a polyglot drone symphony cast in smoldering monochrome.

CD $13.75

05/15/2007 801673901126 

23FIVE 011 CD 


MP3 $9.90

05/15/2007 801673901126 

 


Wind Keeps Even Dust Away by Tarab

Tarab

Wind Keeps Even Dust Away
23five

***EAMON SPROD (aka TARAB) professes a romantic attachment to the notion that the world is falling apart, a terminal process only enhanced by the intrinsic obsolescence from the output of consumer culture. Yet, this Australian sound artist is not one to wallow in the nihilism of such poetics, rather he counterpoints these thoughts with the allegorical implications of his nom de plume. Tarab is an Arabic word that doesn't readily translate into English, but it might be best defined as the ecstatic surrender one can experience when listening to music. Through installation, performance, and composition, Sprod reinterprets the physical detritus of the landscape within a hypothetical topography where dirt, soot, and smog emerge as privileged materials, in to which he has grafted the potential for a transcendent response. With its subtle transitions and evolving sound structures, Wind Keeps Even Dust Away figures into the models of psycho-geographical wandering, as Sprod explores sets of roughly cut textures, resonant frequencies, and atmospheric vibrations that are intrinsic to an imagined space and then shifts into another with its particular idiosyncrasies. While the ecstasy that the word tarab implies may not be an immediate reaction to this album, wonder and discovery certainly are as experienced through this exemplary album of re-engineered sonic dislocation.

CD $13.75

05/15/2007 801673901027 

23FIVE 010 CD 


MP3 $9.90

05/15/2007 801673901027 

 


Glass Sponge by Coelacanth

Coelacanth

Glass Sponge
23five

***The textural flutters, squeaks, and mobile scrabblings of LOREN CHASSE (JEWELLED ANTLER COLLECTIVE, THUJA) and corrosion aficionado JIM HAYNES bring minimalism back from the dead. Bell tones, ghostly feedback, and tuning fork resonations all spiral together into translucent drones.

CD $13.75

12/23/2003 801673900421 

23 F 004 CD 


MP3 $9.90

12/23/2003 801673900421