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zappak · 5 months ago

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Carl Lindh [listening with the tips of my finger]

Release date: September 01, 2024 Catalog no. zappak-018

Bandcamp Page: https://zappak.bandcamp.com/album/listening-with-the-tips-of-my-fingers

[Tracklist]

sound becomes word becomes sound

a certain lack of consistency

Excerpt: https://soundcloud.com/zappak/zappak-018

Both tracks were recorded live at Underjorden in Malmö. Mastered by Andreas Tilliander at Repeatle Photo by Kota Sake Thanks to: Andreas Tilliander, Kota Sake, Pär Thörn, Karin Askagården, Maria Lindh, Brian Nolen and Magnus Thierfelder Tzotzis for supportive and critical eyes and ears.

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Carl Lindh is a sound artist in Sweden, and he usually performs using primitive electronic devices. This work includes two recordings of his performances. In these recordings he also uses primitive sound devices, however, their sound variations are rich that there are delicate noises emanating from the equipment, repetitive rattling sounds, feedback-like sounds, sometimes metallic and sometimes harsh noises there. And by delicately controlling sometimes multiple sounds simultaneously and sometimes just one sound, he creates multi-layered sound spaces and evolving flows.

Carl Lindhはスウェーデンのサウンド・アーティストで、普段はプリミティヴな電子機器をもちいた演奏をおこなっている。本作ではそんな彼の演奏の録音2つを記録したものである�� ここでの演奏でもプリミティヴな機器をもちいており、しかしながら鳴らされる音のバリエーションは非常に豊かである。機器から発せられる繊細なノイズの音、カタカタという反復、ハウリングのように鳴る音、ときに金属的でときにハーシュなノイズ。あるときには複数の音を同時に、またあるときにはたったひとつの音を繊細にコントロールすることで、多層的な音の空間や展開のある流れを創出している。

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Carl Lindh

Carl Lindh is an artist based in Malmö, Sweden. Through a diverse range of mediums, practices and forms of presentation he explores themes and subjects such as listening, improvisation, site specificity, time, slowness and stone. His recorded works are mostly distributed in handmade and very limited editions. He often collaborates with other artists and musicians on short and long term projects one of them being with the Swedish poet and musician Pär Thörn. Carl Lindh operates from his studio Underjorden (the Underworld) in Malmö where he also organises semi-public listening events of different kinds. He is also the co-director of SIGNAL – Center for Contemporary Art in Malmö.

【Reviews】 Noise Not Music: Unless I’m missing out on even more than I thought, listening with the tips of my fingers is Carl Lindh’s first solo full-length. The Malmö-based sound artist has released a small handful of material, mostly as splits with various Swedish noise acts (including a C30 that pairs a Pär Thörn collaboration on the A side with a Heinz Hopf ripper on the B), but this handsome CD on Tokyo small-batch label zappak feels definitive. Two lengthy live tracks feature Lindh’s tabletop potpourri of devices and circuits, which he nimbly controls with simple touches and taps. The infamous “cracked everyday electronics” of legendary Swiss duo Voice Crack are a clear influence, not just on the approach but also on the music itself, which hums and buzzes with both mechanical dispassion and natural fluidity. Neither “sound becomes word becomes sound” nor “a certain lack of consistency” mine soundscapes as obtuse or oblique as Möslang and Guhl’s uneasy improvisations, though; there’s something strangely accessible about the sound Lindh is experimenting with here, something that’s especially apparent when the vocal elements crop up. I have no idea if they’re his contributions in the moment or preloaded samples being triggered just like the rest of the electromagnetic haze—I lean toward the former because of how unstructured yet deliberate they feel. His description of another recording applies here as well: “There are no big gestures in this performance. Instead I let the sounds perform. I let them fill the room and resonate with it. I listen and I follow. Loud continuous sounds create a sensation of comfort within me. It makes my mind empty and my body calm.”(written by Jack Davidson) https://noisenotmusic.com/2024/09/28/review-carl-lindh-listening-with-the-tips-of-my-fingers-zappak-sep-1/

Vital Weekly: It seems I missed out on a few releases by the Japanese Zappak label. This new CD by Carl Lindh is their 18th release. I reviewed a CDR by Lindh before in Vital Weekly 907, and I have no idea how one sounded. I read my old review while playing this neww release and wrote him working “with hearing-aid devices, paper, controlled feedback, record player (spinning ‘Sounds From Insects’ from the 1960), effect pedals and PA”. As per information for this new one, Zappak writes, “he also uses primitive sound devices. However, their sound variations are rich in that there are delicate noises emanating from the equipment, repetitive rattling sounds, feedback-like sounds, sometimes metallic and sometimes harsh noises. And by delicately controlling multiple sounds simultaneously and sometimes just one sound, he creates multi-layered sound spaces and evolving flows.” In this case, I see the title as a technique of using his fingers to control and manipulate devices and objects. Straight from the opening piece, ‘Sound Becomes Word Becomes Sound,’ he starts with feedback and noise, but it’s different from your average storm box manipulator. There is a tactile approach in his music, which is controlled and uncontrolled simultaneously. In ‘A Certain Lack Of Consistency’, ten minutes longer than the other one, 30 in total, he continues this approach, and at fifty minutes, this is, sonically, quite a burden on the ears. Maybe because Lindh avoids easy noise, it is all a bit much. Even when, at one point, he uses his voice, it sounds like good old fashioned power electronics; it’s quite funny, but still a lot to carry through in one go. In terms of noise and something different, this is a great release, a kind of highly brutal musique concrète. (written by Frans de Waard) https://www.vitalweekly.net/number-1462/

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