Radio Europe is a dislocated novel for radio based on my Polish Journals from the year 2017.
Ed Pinsent wrote a review about Make Incest Great Again. It’s also an essay. And it is great to read someone who understood the concept and the intention and how each song connected to the idea.
This tape however exhibits a more oblique, outsider, European take on the same subject. None of them like what they see. Rather than use recordings of Trump’s voice to make him look ridiculous, or hypocritical, instead the plan seems to be to construct a nightmarish vision of the modern political stage, where nothing is what it appears to be; the whole album projects a looking-glass world, a place of general absurdity. More than half of the spoken word elements produce plain gibberish; the few coherent phrases that do emerge are cold, alien, and disconnected.
Ed Pinsent wrote a review about Hannya’s tape ‘Who put the flowers in the garden.’
Also for him the sounds and songs he heard were hard to understand. It’s an experience more listeners had. Every definition and means of understanding was elusive, a first condition to become weightless.
In his words: I might also reach for the “plasticine” metaphor, since we’re in the home-craft zone now, since a lot of these tunes have the spontaneous, rough-hewn feel of a sculptor modelling in clay, trying out what fits. I hope I’m conveying something of the spontaneity and ingenious invention I’m digging on hearing this tape. There are a lot of ideas here and I’m having fun trying to piece everything together, hoping for a vista or a window on White’s world view.
The sounds on this tape stress the importance of forgetting.
I used many every day objects, simple objects,
to record the source material directly on magnetic tape.
These were objects that we encounter…bricks, wood, stairs.
The objects I chose had an extra historic layer;
they were made and used before the war,
in a part of Poland that belonged to the German Reich.
I mixed these sounds with music and speech from found tapes.
Those were relics of a (Polish) past that ceased to exist.
On side 2 I added an encounter with life – real and imagined-
in the former jewish neighbourhood Podgórze in Kraków.
Obviously also that era came to an end.
To remember everything in detail is impossible;
it would hurt too much and make life unbearable.
That is why we tell stories.
Sounds for Side 1 were mainly recorded in and around the Bishop’s Castle in Klein Peterwitz during the fierce winter of 2017
Sounds for Side 2 were recorded in Kraków in April and May 2017
Additional sounds on Side 1 come from tapes found in the streets of Wroclaw or at the Hala Targowa flea market in Kraków.
The Soundprojector wrote about this tape:
Rinus van Alebeek is usually noted here as curator of the unique releases on his own Staaltape label, which he is kind enough to send us, but he’s here today published on the Tutore Burlato label run by the equally unique fellow Ezio Piermatttei. How To Forget (TUTORE BURLATO 20) is probably one of the most personal and heartfelt releases Rinus has assembled; it has something to do with painful memories, of lost history, of leaving the past behind. He thinks it’s very important to forget things; to use his own expression, “to remember everything in detail is impossible; it would hurt too much and make life unbearable.”
To achieve this, he has deliberately visited parts of Poland that were occupied by the Germans during WWII, and explored buildings, objects, familiar things like bricks and stairways; it’s all part of a plan to connect to the past, to a way of life that has vanished. He goes even further on side two, making observations and impressions of a former Jewish neighbourhood in Krakow. He is focussed – some might say highly preoccupied – with an era that is past, and looks for traces of it in the physical ghosts and shells that remain. This is done with several sources – found tapes, spoken words, field recordings, music – and assembled using his highly intuitive collage method, which (to me) is much more effective than William Burroughs when it comes to allowing condensed blocks of the truth to leak out.
I especially like the way he claims to be dealing with the “real and imagined”; maybe he’s as much a novelist as he is a documentary sound artist, and he reserves the right to exercise his imaginative faculties. This is what gives How To Forget a certain compelling quality; it’s almost like a story, a sketchy radio play, where details are obliterated, characters only appear in a hazy, distant manner, and events are happening in the wrong order. Only Mark Vernon has come close to realising this kind of powerful narrative-essay-poem in sound. The story-telling is all part of van Alebeek’s strategy; for him, telling stories, making repeatable narratives, is what makes the unbearable past something we can live with. Profoundly sorrowful; an essential piece of work .
How to Forget was released by Tutore Burlato.
Artwork and production by Ezio Piermattei.
A collage of found recordings, commercial tapes and own recordings fit together for a restroom soundtrack. Originally composed for the New Music Festival in Melbourne,
now available in digital format: science for the poor.
Out of the blue, a review appeared on de dutch internetzine Nieuwe Noten.
The review is in dutch, written by Ben Taffijn.
“Inexplicably compelling to listen to, although you have to give it some time to make its overall trajectory and shape more or less apparent; it could easily be the most beautiful or the most infuriating thing you’ve heard for weeks.” Ed Pinsent in The Sound Projector
All compositions come from original recordings made on 20/21 June during the shortest night of the year 2011. Recordings were made Pierce Warnecke in a barn in Montagny les Lanches, France, Anton Mobin on a walk in Belleville, Paris, Christoph Limbach on a bicycle ride in Berlin and Rinus van Alebeek on the Museuminsel in Berlin.
The Montréal Tape Run was released in collaboration with crustaces tapes in Montréal. This is the last Tape Run in a series of seven.