CNV09 | 12.10.2004
ALL FILES (Download)
Kazumichi Grime's latest outings sound as uploads from an ab-original databank, from something like a hard disk made of organic matter. An undefinable sense of ancienity exudes from within these soundworks. By whichever means of digital chemistry these are derived; to whatever strains the pre-digitalised material which are the building bricks of these pieces were exposed: the resultant sounds reappear like aural specimens dug up by a sonic paleontologist bent on uncovering the primal intelligence that lies beneath, or behind any distinctive time and place - thereby, as through some means of digital electrolysis, bringing their origins not further removed from, but rather closer to their source.
liner notes by Mark Pauwen
“mu”, the twelfth letter of the Greek alphabet, as used in scientific/mathematical jargon refers to the multiplier x 0.000001 (as in “one millionth of“). This is an appropriate title for a release that uses tiny sounds to build and structure its four digital compositions. “Message” (track 1) begins with the playful interaction of subtle background repetition with sparkling little pops and crackles and slowly evolves into gentle ambient drone rising above the distant microsounds . On “Vertical” (track 2) fleeting moments of glitch along with beautiful tones dominate over a gently rising and falling orchestral-like drone. “Drift” (track 3) is a dense and rolling ambient drone that rises above an array of other little sounds. “100f” picks up where “Drift” left off continuing as a dense drone that slowly devolves into a minimal piece where glitch, microsounds, and warm tones unpredictably appear and reappear. Absolutely beautiful listening.
[ Larry Johnson ]
Tobias Kazumichi Grime is from Australia and is featured on the forthcoming compilation on my small label Centuries which should finally be out in the next few months. So, I'm familiar with his music before from a really nice demo I got from Kazumichi Grime. He claimed to be a big Oval fan and there can be noted concrete glitch influences in his music. But it's not only about that, because improvisation takes place in the music too. Pretty much in the tracks here, maybe even more than before. Then again, don't expect it to be in the Grob/Erstwhile style, it's more in the interesting type of atmospheric ambient style. Kazumichi improvises carefully with atmospheres here, going into ambient fields much more than before, getting closer to Fennesz's 'Venice' rather than Oval. It's done with good sense for music, maybe a bit absent in the second track 'Vertical'. If interested you can read an interview with Kazumichi Grime on the longer time not updated site www.star6789.tk, on th e 'interviews' page.
[ Boban Ristevski ]
42 Minuten Drones mit experimentellen Ambient Schichten und Clicks n'Cuts Ansätzen vom mir bisher unbekannten Tobias Kazumichi Grime, der es schafft einen der interessantesten Netaudio Drone Releases 2004 zu basteln. 'Message' beginnt mit flirrenden Clicks die zunehmend von verschiedenen Layern überschichtet werden. Der spannende Teil dieses Release beginnt dann mit Grime's Abstieg unter dem Meeresspiegel mit dem deepen und organischen zweiten Stück 'Vertical', ein Stück das von sehr ruhigen Momenten lebt und vor allem in der ersten Hälfte mit den gefilterten Luftbläschen an der Schleuse zum nautischen Ambient pocht. Die Nebengeräusche werden hier bewußt im Hintergrund platziert, so dass das Stück ruhig treiben kann. Wieder an der Oberfläche oszilliert 'Drift' in unruhigeren Gewässern talabwärts zu '100f', welches in feuchten und ziehmlich dunklen Höhlen auf Expedition ist.
CON-V EDITION | 2015