MYSTERY SEA 61| Blindhæð|
la forme absolue et l’informe absolu, ce qui se touche souvent,
il y a un équilibre que seule la masse perçoit dans son
volume; la couleur est littéralement dévorée, il
faut se retirer dans l’ombre des voiles, se cramponner à
chaque plan à peine perceptible."
(Nicolas de Staël, letter to Jacques Dubourg, June 1952).
along heterogenous paths : one being Black Sabbath’s eponymous
song, another the uneven chapters of Virginia Woolf’s “The
Waves”, and the third being raw field material recorded in Venezia
September 2008, processed @ 4amperstudio during 2009. Forgetting about
the initial plan became part of the process and led to wandering in
the margins, guided by sound only – whether this is a deconstructionist
option or an easy excuse for failure, who will tell ?
Anyway, the Grateful
Blindhæð Quartet played field recordings, metal, wood, wires,
glass, expanded polystyrene and other forms of polymeric substances,
with or without the mediation of minidisks, tapes, ready-made and self-built
devices, computing machines and rooms.
They would like
to thank the following for their immersed contributions :
. federico barabino
: spectral & regular sabbath guitar [ buenos aires ]
. david ross : thumps, crows [ london ]
. richard scott : electronic birds [ berlin ]
. sarah “ruidemos” vacher : sun, steam [ granada ]
. marcos “one man nation” destructos : breath [ rotterdam
. pierre, marie & sarah peeters : usual & unusual mayhem [ gaurain-ramecoix
. asmayani kusrini & sylvain from ini.itu : sink, bath & 5th
wheel [ schaerbeek ]
. liv : ♥beat [womb]
studies have shown that ultrasonic components will be ineffective at
driving away wild rats and other pests. Specifically, ultrasounds are
no more effective than audible sounds” (Bomford and
Blindhæð , May 2010
Blindhæð hides S/, a belgian sound
composter & distiller...his creations based on field recordings,
various electronic treatments & manipulations, and an amalgam of
both, show a sheer depth & multidimensionality through detailed
textural & spatial developments. With only a downloadable compilation
on Ruidemos, and a vinyl on Ini.itu, whose lenghty titles give away
a love for "terracing", and a consummate art for a story into
a story & recontextualization, Blindhæð has
already achieved to build a cohesive singular complex universe where
Mystery is omnipresent... a negation of all easy short cuts, and a yearning
for a refined sense of aesthetic, permanently supported by perceptive
observation & empiric practice...
Blindhæð transforms his intimate world into
a vulnerable pregnant sound experience...
Swallowed up into the strata,
Dragged by some distant memories,
aware of their driving force,
small debris uncoil their tales...
Wood is cracking,
Low ground is breathing,
Various modulations of an invisible constant...
"Laguna Sunrise" exhales life, disrupting
illuminating the moments,
the bareness of a shore,
the slightest cracks,
in a festival of shimmers...
01. Segment I /
the other side of jackals
02. Segment II / for.gotten
03. Segment III / sounds and resounds under platform
04. Segment IV /  approach London, consume feelings
05. Segment V / what can fan the fire that stands ?
06. Segment 54
VITAL WEEKLY 729|Frans
Since reviewing the first two releases
by Blindhæð (where a e are together and the
o has a thingy on its top, but which I learned is a 'd'), see Vital
Weekly 621 and 649 I learned some more about the project. Its from somebody
whom we shall refer to a S/, from Brussels and who is behind the excellent
record label Ini.Itu. Their releases focus on the use of field recordings
made in Indonesia. So he has a released an MP3 on Ruidemos and an one
side LP for his own label, actually the start of the label. Like on
the previous releases, Blindhæð uses extensively
field recordings, but, and this might be a new feature on the Mystery
Sea label, these seem not derived from anything close to the sea. Crackles
of wood, human activity (recorded over a great distance it seems, allowing
lots of hum as an extra musical source). It continues where the LP left.
Lots of acoustic 'rumble', contact microphone stuff and such like, but
its all sounding quite mysterious (I see here more mystery than sea).
This is due to the fact that the pieces are heavily layered and filtered.
Distant rhythms are present in the final piece, but they are a rarity.
Throughout an excellent work of field recordings, microsound and ambient,
touching at one hand on all the familiar grounds, but Blindhæð
has enough of its own to make things thoroughly interesting. An excellent
(pronounced 'Blindhead' - approximately) first came to my attention
last year via their release on the Ini Itu label. Theirs is a
world of dark machine constructs emitting a darkly apocalyptic Lynchian
rumble. In contrast to what the title may suggest there's very
little light allowed to be glimpsed through the miasmal loop but there
is a certain stygian warmth that surrounds everything during it's run-time.
That's not to say there's no subtlety on display here though.
Blindhæð manipulates and integrates his sound-sources
with ease to create a fully realized world. Albeit a world the
sun doesn't get to shine on very often.
wonderful wooden reasons