_________________________________________|MEDIA.INFORMATION|.
artist....... VA
title........ Floating Foundation Vol. 1
source....... CDDA > Compilation
genre........ Electronic
style........
label........ sub rosa
catalog.no... SR146
year......... 2001
street.date.. 000.00.0000
release.date. Dec.16.2015
link......... http://www.subrosa.net/
________________________________________________|TIME&SPACE|.
time......... 57:23 min
space........ 258,08mb
orbits....... 05
_______________________________________|QUALITY.CERTIFICATE|.
encoder...... FLAC 1.21a
quality...... 627kbps /44,1kHz/Stereo
___________________________________________|MISSION.CONTROL|.
01 Janek Schaefer-Lithospheric Shifts. 08:02
02 Main (Robert Hampson)-Hysteresis. 12:05
03 Christophe Charles-Undirected Float. 14:47
04 Stephen Vitiello-Salty Lemonade for Falling Water, 08:39
2001.
05 Kurt Ralske-Au.Taste. 13:50
______________________________________________|REVIEW/INFOS|.
PRESS CUT
The aim of the Floating Foundation series is to
"create sound objects" with musicians "who are, in
most cases, plastic artists too" (from Sub Rosa
director Guy Marc Hinant's presentation) -- in
other words, to walk the thinning line between
music and plastic arts. The sound sculptors
contributing to this first installment all decided
to take its title (inspired by Frank Lloyd Wright's
sense of architecture) literally. Each piece is a
journey through either air or water -- not that the
artists declare to specifically use sounds derived
from these sources, but their music feels airborne,
free-floating, gentle, and following its own,
sometimes capricious path. Janek Schaefer's
"Lithospheric Shifts" opens the CD, but it
represents its weaker point. It doesn't take off,
offering a limited and uninvolved scope of sounds.
Robert Hampson's (aka Main) "Hysteresis" is already
more interesting and takes the shape of a British-
school electro-acoustic work. Christophe Charles
and Stephen Vitiello's contributions make for the
best moments, the former vaguely ambient, the
latter presenting the most minimalist but sharply
focused work, derived in part from his recordings
of the World Trade Center (something that cannot
help but take an unplanned extra dimension after
the events of September 11, 2001). This is where
the sense of plasticity, of "sound sculpting," can
be felt the strongest. Kurt Ralske's "Au.Taste"
provides a suitably calm ending.
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ating-foundations--
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