Sculpture - Toad Blinker: Psihofonotropikalija

 

Netko je odlučio bend nazvati Sculpture. Dan Hayhurst i Reuben Sutherland stvaraju psihofonotropične zvučne i vizualne efekte. Brza, jeftina, radosna, čudna psihodelija koja voli trash, greške i hiperaktivnost. 
Update 2013: Objavil isu album Slime Code.

Kako napraviti zoetropski uređaj:

"SCULPTURE, Toad Blinker
Picture-Disc LP

We tracked the signal emanating from the rotary emitter and ended up here... exploring the lab where biological parts are spliced with virally spawned digital mutations.

Toad Blinker is an incautiously assembled amalgam of mutated techno forms, analogue electronics, tape cuts and digital sampling, gleefully twisted psychedelia. It's a take on computerised music production that rejects tired badges of 'quality'. It's fast and cheap, unexplained, joyful, strange, it loves trash and mess and mistakes and too much energy, and revels in accidental collisions.

Sculpture aim to generate an energy greater than the sum of its constituent elements. Dan Hayhurst's music finds its ideal counterpart in Reuben Sutherland's animations. Like their previous Rotary Signal Emitter LP (Dekorder, 2010), Toad Blinker is a zoetropic picture disc designed to be filmed at 25fps with a high shutter speed.

During live performances, Sutherland DJs with home-made zoetrope picture discs, projecting looping fragments of surreal, kaleidoscopic imagery while Hayhurst feeds tape loops, lo-fi analogue electronics, and digital sequences to a 'modular assembly' comprising a battered reel to reel tape recorder, CD player, walkman, hardware sampler and FX units."

It’d be a mistake to conclude from the vintage of their gear that Sculpture are pursuing a retro analogue agenda. Their purpose is to explore perceptual thresholds…Sculpture hover at these sensory junctures, invoking the cortical feedback mechanisms of the brain – The Wire

As with Nurse With Wound at their best, there is a manic energy and deranged sense of joy in these recordings (and indeed animations)…as if a hyperactive toddler had snatched the avant-garde and ran away with it, laughing uncontrollably. As a result, what could have been a dry and merely ‘interesting’ project turns out to be a hugely entertaining joyride – Freq 

Like a kid armed with the Sonic Youth track “Providence” who then went out and bought a sampler instead of a guitar. Lots of tiny sounds moving forward and keeping you busy.  Woozy samples at the wrong speed are always the quickest way to my busted, weird heart – Foxy Digitalis

A dose of lysergic hauntology patching pieces of Radiophonic tape music with freeform drumming, digitally mangled modular synth sounds and all manner of sample textures to pull off an album that sounds like Keith Fullerton Whitman jamming with Roj round at Bruno Spoerri’s place, or maybe People Like Us locked in a room with Black-to-Comm and a juicy bag of mushies – Boomkat

Adventurous DJs would know what to do with this curious record: spin two copies at any speed and make dozens of new connections - Vital Weekly

Još Sculpture 

Slime Code (2013) streaming

Sculpture is perhaps best known for the zoetrope picture discs they've released via Dekorder in the last few years. This multimedia duo of Dan Hayhurst (audio) and Reuben Sutherland (visual) keeps challenging the ideas we hold about collaboration into new and unsuspecting realms and pushing the boundaries of the physical medium. Following their LPs on Dekorder, they concocted "Slime Code" for Patten's Kaleidoscope label and, again, found new ways to stretch their limits. This music was performed live to 8-track tape by Hayhurst and Sutherland on July 1st, 2011. Hayhurst then compiled seven unique c20 dubs. From those tapes, a digital edit was compiled and from that came this exclusive vinyl edit. "Slime Code" has been through one hell of a journey before the wax even has a chance to freeze your ear drums. But in the end, the concept takes a backseat to the results. Unsurprisingly, "Slime Code" is a stunning piece of work. Visually and sonically, disorientation and imperfection play a major role. From the bewildering and complex cover art straight down to the insanity of its scope, Slime Code's impact starts from the second you get that record in your hands and doesn't end until the broken tribal blasts and cybernetic electronics close down the show. Straight off, Hayhurst and Sutherland have you. Submerged blips act like aural drips falling into a rapidly-flowing river of tropical bounce until dissolving into squalls of synthetic noise. Sculpture are constantly reshuffling the decks, though, and just when you think you've settled into a particular groove, they've moved onto new underwater explorations. It's playful and incredibly engaging. Sure, they may be fucking with you, but it's so much fun you can't help but dive in anyway. Ahead, industrial beats pound out four-to-the-floor rhythms while layer-upon-layer of digital squelch is parsed into vivid imagery. It moves with such pace that it's hard to get a breath. This is music that has an alternate life in the visual world - you can see it as well as you can hear it. It will envelop you until you can't help but drink it all in. What makes "Slime Code" such a success is how Hayhurst and Sutherland continuously take their ideas apart until everything is scattered into space. As Sculpture pick their toys back up to put them back together, it becomes obvious that just dropping everything again so it's strewn everywhere is not only more fun, but makes for better listening. "Slime Code" is an endless sea-floor labyrinth where breathing is optional.

Fractured bleep techno and de-composed electronics for followers of Container, Keith Fullerton Whitman, Konono No.1, Ekoplekz, Harmonious Thelonious - Edition of 500, initial copies on olive green wax* Following a pair of strong LPs for Dekorder, Dan Hayhurst (audio) and Reuben Sutherland (visuals) released 'Slime Code' on cassette for Patten's Kaleidoscope label last year - and it's a peach. The music was performed live to 8-track tape from which a digital edit was compiled and from that came this exclusive vinyl version. Visually and sonically, disorientation and imperfection play a major role. From the bewildering and complex cover art straight down to the insanity of its scope, Slime Code's impact starts from the second you get the record in your hands and doesn't end until the broken tribal blasts and cybernetic electronics close down the show. The music operates at a highly visual level across two extended pieces consuming disfigured bleeps and herky jerky post-techno rhythms sounding like Sun Ra meets Ekoplekz in a conical flask of liquid mescaline, all spun thru a centrifuge at Daphne Oram's home lab. Yet far from being an abstract mush of sonics, their logic dictates a strong sense of linearity that's almost reflective of the dancefloor, to an extent much like Diamond Catalog, and somehow also of the lilting metallic timbres associated with Konono No. 1, or Harmonious Thelonious and The Durian Brothers 12"s on Diskant. The intangible magic of their sound lies in the way their grooves dissolve and reassemble at will, performing almost impossible segues between seemingly insoluble sounds and rhythms made to immerse and stimulate your pineal gland to joyfully lysergic effect. - boomkat