Uri Katzenstein: Audio Works 2LP (Black Truffle)
An amazing discovery!
From the one-sheet:
“Uri Katzenstein's Audio Works, produced in collaboration with Holon's Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein's absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist's audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (some unheard) at the artist's death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice […]
Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein's time living in New York in the 1980s.
Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterized the New York scene at this time, many of Katzenstein's recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world.”
Includes extensive liner notes by Roee Rosen, Katzenstein's Audio Works offers an outer fringe of DIY pop and sonic experiment, which the notes suggest balances “accessible forms … [and] radical interrogations of song, word, and sound.”
An amazing discovery!
From the one-sheet:
“Uri Katzenstein's Audio Works, produced in collaboration with Holon's Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein's absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist's audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (some unheard) at the artist's death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice […]
Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein's time living in New York in the 1980s.
Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterized the New York scene at this time, many of Katzenstein's recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world.”
Includes extensive liner notes by Roee Rosen, Katzenstein's Audio Works offers an outer fringe of DIY pop and sonic experiment, which the notes suggest balances “accessible forms … [and] radical interrogations of song, word, and sound.”
An amazing discovery!
From the one-sheet:
“Uri Katzenstein's Audio Works, produced in collaboration with Holon's Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein's absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist's audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (some unheard) at the artist's death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice […]
Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein's time living in New York in the 1980s.
Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterized the New York scene at this time, many of Katzenstein's recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world.”
Includes extensive liner notes by Roee Rosen, Katzenstein's Audio Works offers an outer fringe of DIY pop and sonic experiment, which the notes suggest balances “accessible forms … [and] radical interrogations of song, word, and sound.”