Moscow sound experimenter Phil Raymond, recording with computers and percussions, is resampled live by Moscow musician Kurt Liedwart on lloopp, electronics & percussion, to create these 5 darkly ambient tracks merging organized and improvised approaches.
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Label: Mikroton Recordings
Catalog ID: 45
Squidco Product Code: 21976
Packaging: Cardboard Gatefold
Recorded at Partisanstudio in Moscow, Russia in June to October 2009.
Phil Raymond-computer, percussion
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1. 10:58 10:59
2. 3:52 3:53
3. 9:27 9:28
4. 4:16 4:17
5. 22:45 22:45
Organized Sound and Sample Based Music
New in Experimental & Electronic Music
sample the album:
"Phil Raymond lives in Moscow and has been working with microlevels of sound for ten years. In 2009 he worked mainly with electroacoustic manipulations of percussion using different methods of computer processing and recording. Rim is his second recording released by Mikroton family of labels following critically acclaimed Absence released by Mikroton Digital in 2008.
In 2009 he joined his forces with Kurt Liedwart, a Moscow-based musician and curator of Mikroton Recordings. Phil submitted his recordings of percussion and Liedwart reworked them live adding more sounds of his own like processed percussion, sinewaves and quiet noises.
Rim comprises five distinct pieces, sometimes warm and comfortable, sometimes making the listener find out new perspectives. Liedwart created inventive systems of sound matters, working with both percussion and electronics, carefully adapting other musician's materials."-Mikroton
"On the other new release, Liedwart gets credit for playing lloopp, electronics and percussion and he teams up with one Phil Raymond. He plays computer and percussion and together they released Absence in 2008 as a download and Rim is their second album. Somehow, somewhere they use a fair bit of percussion sounds in this music, heavily processed, the information tells us, but also adding more percussion, sine waves and quiet noises as the music progresses. While many of the releases by Mikroton are in the realm of improvised music in one way or another, this one seems to be made within that too but it doesn't sound like it. Or at least not to the same extent. In each of these five pieces there is some deep rumble to be heard, of various bass tones colliding together in all sorts of forms and shapes and on top of that there is some highly obscure rattle of a solitary object. More dark ambient, I would think, than strictly some kind of beep/scratch improvised music release. I thought all of this was highly enjoyable. Not because it was so much different than other works in this particular scene, but because it was quite a lone wolf in the Mikroton catalogue."-Frans de Waard, Vital Weekly