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Joshua Dippold/Toktela

Two-bit Argument (Rehearsals I&II)/... And Who Keeps Moving the Moon (CDR)

>This is the fourth in the series of split releases on Cohort Records. It opens with a cut and glitch study by Joshua Dippold entitled 'Two-bit Argument (Rehearsals I & II)'. The piece is over thirty minutes long and treats the listener to an engaging journey through the granularisation of speech and other (usually) familiar sounds. With the processed speech sections acting as an anchor throughout the composition, Dippold's eclectic approach acquires a framework that keeps the opus interesting. Unlike many compositions of this type, 'Two-bit Argument (Rehearsals I & II)' doesn't come across as random. There is a healthy application of method to the madness here. The interaction of the vocal passages with the other events is very well constructed. The speech samples are drawn from a wide variety of sources. Some quite surprising. Some so obscured that they hardly resemble speech at all. '...and Who Keeps moving the Moon', Toktela's contribution to this set, is a a thirty minute plus study in dark ambience. Processed field recordings? There's plenty to listen to here. The piece is built on a subsonic drone with lots of depth and weight. Cozy. Ambient and not at all static. Epic in a way. There's a plan here and the listener can hear it unfolding. Very, very enjoyable. I wish I had more information on Toktela. I'll make it a point to gather some for the next review as i'm certain we have yet to hear the last of Toktela. (auralpressure)

>If I'm not mistaken this is the fourth in a series of split releases on Cohort Records, and each artist delivers a piece of, give or take, thirty minutes. Here Cohort Records comes up with two artists of whom I never heard before. Whoever is behind Toktela is a mystery, there are no liner notes. His piece '... And Who Keeps Moving The Moon' fits the loosely drone theme of the previous releases, with a beautiful drone piece, sound slow, majestic sounds moving in and out of the mix, with a dark undercurrent that is a constant feature in this piece. Perhaps there is a slight addition of field recordings, but they too are heavily processed in this highly isolationist music. Joshua Dippold has 'Two Bit Argument (Rehearsals I & II)', and that gives away a bit what it's about. To me it seems that Dippold recorded a whole bunch of sounds from the radio, at the lowest bit of 2K, which gives the whole thing a raw touch. Perhaps he uses the low bit resolution samples of an old Casio key board. From all these recordings he produces a piece of collated sounds, that is quite dense, but in all it's lengthyness is too long to keep the listener's full attention, who will reduce it (pun intended) to background hiss. (FdW, Vital #513)

 

 

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