MYSTERY SEA 61| Blindhæð| [Laguna Sunrise]


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"Entre 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).

Growing 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]

controlled 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 O'Brien 1990).

- Blindhæð , May 2010


Behind 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...

Scrutinizing beyond,
"Laguna Sunrise" exhales life, disrupting time,
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 De Waard   
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 release.
vital weekly

Blindhæð (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