A.
(GROTESQUE 1) [22:13]mp3mp3 B.
(GROTESQUE 2) [14:26] mp3mp3
(GROTESQUE 3) [10:54]mp3mp3
Recorded live at Elastic Arts, Chicago, November 2009 Released October
2010 118
copies
OUT OF PRINT
REVIEWS:
Vital
Weekly (Frans de Waard)
AARON
ZARZUTZKI & NICK HOFFMAN - PSYCHOPHAGI (LP by Pilgrim Talk) Hoffman's
music made it already a lot to the pages of Vital Weekly, and now runs
Pilgrim Talk and Ghost & Son as his two labels, originally
starting life as the Scissor Death label. Here he works with one Aaron
Zarzutkzki, 'who is an improviser of sorts', and this record is their
second one, after the first got lost. Zarzutkzki plays a 'disassembled
turntable which is used as a kind of spinning wheel to vibrate various
objects', whereas Hoffman uses sheet metal and drum machines. Three
pieces here, all called 'Grotesque', which I don't completely
understand, as these improvisations are quite modest. Modest in volume
and modest in the gestures they make. Scratching the surface might be a
negative thing to say, but in these pieces they do scratch the surface.
Mostly quiet and not very outspoken, save for an Organum like bit on
the second side. Largely, it seems, this is an album acoustic sounds.
The recordings made not be top notch, but I couldn't work out if that
was deliberate play actually. I must admit I quite enjoyed this at
times empty piece work. A slow mover, this album, taking its time to
get somewhere. Highly improvised but also very experimental, connecting
both ends quite nicely. One of the nicest things out of the Hoffman
home so far - and not the first great thing he did. (FdW)
Foxy
Digitalis (John McCormick)
October 20, 2010 Nick
Hoffman and Aaron Zarzutzki create a music that is both acoustic as
well as electroacoustic on this live LP recorded at Chicago’s Elastic
Arts in 2009. It is an album of improvised noise that is both
non-committal and seemingly without agenda, other than the
proliferation of sounds. The sonic palette here is comprised
of a wide range of sounds culled from the vibration of objects as well
as electronic sounds, which on the surface are inspired by nothing but
themselves and each other.
The
instrumentation utilized is unique. Zarzutzki’s instrument is a
disassembled turntable. He has removed the stylus and
utilizes the turntable as a spinning disk with which he uses to vibrate
objects. The objects are varied but include springs, foam
cups, cardboard and other detritus. Hoffman is something of a
multi-instrumentalist employing extended techniques on trumpet as well
as creating new techniques for objects such as sheet metal and a sewing
machine. The electronic elements of their performance are
limited, but are put to use also with something of an extended
technique. A drum machine is used without meter or
cadence. Contact microphones on Hoffman’s sewing machine and
pieces of sheet metal are processed lightly with
equalization. At times the difference between the acoustic
and electric sounds are indecipherable, as the tones and micro rhythms
produced blend in space.
Each
sound comes on delicately, even if the sound is aggressive.
Sounds occupy space simply and apparently without comment.
This is perhaps the most powerful element of this
performance. Here, the duo’s ability to allow such a wide
range of sounds to be themselves is cantilevered by practice, and their
knowledge of how each object will react to its subsequent
use. This is not to detract from the improvisational elements
of these pieces, as surprises certainly abound. Yet, certain
sounds coalesce and are put to use through inherent properties of the
objects. Metal sounds go with metal sounds, percussive sounds
highlight each other and pitched sounds of any duration chase one
another across the spectrum.
It
certainly is an engaging listen, with each spin revealing new
characters and relationships to one another, as well as to the room in
which it is played. This is a music that can highlight itself
in a myriad of forms as well as deftly compliment the wind, passing
traffic (and if you are me) the birds living in your walls.
It is something of a journey into the perennial nature of not only
sound and music but of creation and being. “PSYCHOPHAGI”
is of a limited edition of 118 pieces with art work and design by Nick
Hoffman. Pilgrim
Talk 10/10
Auxiliary
Out (Drew Dahle)
MONDAY, JANUARY
17, 2011
Aaron Zarzutzki & Nick Hoffman - Psychophagi [Pilgrim Talk]
This
is the first full length from this Chicago duo (a cassingle was
released simultaneously.) Nick Hoffman is a very busy man, running the
Pilgrim Talk, Ghost & Son and Scissor Death labels as well as
recording solo as Katchmare. Hoffman's work in duos is often some his
best such as in Veyou or Back Magic but his teaming up with Mr.
Zarzutzki is certainly his strangest and probably finest to date.
What
I like about Psychophagi is it pulls no punches. I don't mean that in
the typical aggressive/violent manner, but that the sounds delivered
are immediate, tactile and incredibly detailed. There is no added murk
or misty blankets of effects here. Just pure (whatever that means)
sound.
Zarzutzki's weapon of choice is a turntable appropriated as a
grinding wheel of sorts. Hoffman's tool chest is kept a little vaguer
as an assortment of electric and acoustic objects. The first piece,
"(Grotesque 1)," which takes the entirety of the first side, begins
with something resembling an oscillator but with a more organic timbre.
Another sound which could potentially be a horn of some sort, though I
doubt it, joins briefly. The aforementioned grinding 'oscillator'
sound, which I am going to guess is Zarzutzki's turntable, is the focus
as it weaves a range of sounds over a mild mechanical hum. A few pieces
of metal clatter cut through with sharp clangs and the turntable
appears to get switched off, dimming the piece momentarily into
silence. Skittering percussive noises break the silence and something
that sounds akin to a few people whistling acts as a counterpoint.
The
material on this LP was culled from a live performance and it feels
like it. There is a patience at work; the pieces move forward naturally
as they may not have with editing or overdubs. The piece continues to
crawl forward on strangled tones; there were definitely many objects
under duress during the making of the record. It is kind of interesting
to hear how these mostly "non-musical" objects end up capturing the
sound of a drum roll or, as previously mentioned, a oscillator or
whining trumpet, to see the relationship instruments and
"non-instruments." That even though the sounds produced are relatively
similar, the method of production drastically changes the dynamics and
compositional nature of a piece of music. The first side culminates
with a thicker palette of sound which builds somewhat like a crescendo
before ending on a squeak and silence.
I might as well say this now
before I write any further. This record is for people who love sound,
not just "music," but the phenomena of sound. If you fit into that
category than this record should be pleasure to listen to.
The
second side begins slightly more aggressively with some loud
cling-clang. A mild but persistent sine-wave feedback tone hangs around
with a loop that manages to fit somewhere between melody and rhythm.
This second track "(Grotesque 2)" is much more rhythmically inclined,
disseminating strange little grooves throughout its duration. Insistent
blares of bowed metal litter the piece as well, continuing to carry it
forward in all its unsettling, prickly glory. Underneath the louder
swells is a continuous hi-pitched tone, sounding like a violin section
slowly dragging 500 ft bows across an open string. A new bassier tone
joins up and the pair has a nice little duet. It's the strongest, most
“stand alone” piece on the LP; it seems most confident in where it’s
heading. "(Grotesque 3)" wraps the record up. At the outset it’s much
more percussive until settling in with a quiet tone sounding halfway
between a free sax solo and a Furby. From there, the record moves into
one of my favorite passages which is nearly silent. A sine tone just
this side of existence hangs in the ether and every so often a sharp
percussive hit shatters the near-silence. It's hard to explain what
exactly makes that section so arresting but after having the record
demand so much attention, you are listening so hard that it is a tad
surreal to feel like you are hearing silence. The rest of the piece
brings in deep groans and plaintive, nearly melodic electro-acoustic
drones ending on a relatively pleasant note.
This is a very elusive,
enigmatic record. It will probably captivate some and be met with
disinterest from others. I’m certainly in the former camp and I hope
there's plenty more to come from this duo. It isn’t the most brilliant
record I’ve heard but it's one that I still haven’t been able to put my
finger on, and that quality will keep me listening for a long time.
The
record is outfitted with killer artwork (as usual) by Nick Hoffman.
It's a very nice package all together. It's still available, in an
edition of 118, and at 12 bucks postpaid that's a darn good price for
such high quality visuals and audio.
