Composer/sound artist Christopher DeLaurenti [ “…You listen on the edge of your seat, every shout and noise significant…” – Wire] has unleashed, or rather unearthed a new collection of three sound pieces that tickle the ear and the imagination.
These three pieces rely on inefficient, imminently obsolete technology to perforate silence with sound.
“Audio found in the silent 8mm home movies of the Ring family” (2011) captures electromagnetic impulses created by dubbing vintage home movies, randomly ganged one after the other, onto VHS tape.
“The mute right channel of Lionel Marchetti’s Train de Nuit (Noord 3-683)” (2010) is at once an homage and an investigation of Marchetti’s work, composed, unusually, “pour un haut-parleur” (“for one speaker”) and thus heard only on the left channel, in mono, not stereo. Released by Metamkine in 2002 on a 3-inch CD, Marchetti’s Train is a feast of digital errors, recessed dialogue, and juxtapositions (a coughing smoker, the clack of rails, a snippet of “Riders on the Storm”) that startle and delight the ears.
When analyzing this work, I was surprised to find audio submerged in the apparently silent right channel. The mute right channel of Lionel Marchetti’s Train de Nuit amplifies this residue and elevates ostensibly digital black into a series of barbed points with lo-fi grit reminiscent of 8 bit, 11.025 kHz samples.
Remote (2002) is from a series of unedited improvisations with an analog television and sluggishly vintage 1980s-era remote control.
All of these works may be considered as co-compositions. An inversion of ambient music, co-compositions are intended for solo studio listening or can be “fleshed out” in tandem with back- and foreground sounds, preferably those from your everyday life. The mute right channel of Lionel Marchetti’s Train de Nuit is also an apostrophe piece, a composition whose title acknowledges (and I hope honors and brings attention to) the root of the work.