266 minuscules récepteurs paraboliques

by Plochingen

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266 minuscules récepteurs paraboliques
all guitars by plochingen
Chrome C50 cassette
Tanuki Records #7
Mastered by XX
Visual by plochingen

Pierre Cécile at Le son du grisli
Plochingen est de Bruxelles mais fait de l’ambient à la plus au Nord que ça… disons à la Beequeen (quand il n’y a pas de voix dans Beequeen)… Un peu court, jeune homme ? Mais c’est que j’allais poursuivre… et parler de ces deux faces de cassette (téléchargeable) à quatre Baal… Baal 1 et Baal 3, en face A où il y a des guitares, des guitares surtout, mais une sorte de petit synthé à la programmation rythmique minimaliste aussi sur une courte séquence qu’en chasse une autre, et puis une autre une autre, etc. 266 fois ? Il faudrait compter… En tout cas, le tout reste insaisissable sauf dans ses couleurs : blanc de la sonnerie d’un téléphone (qui sonne chez Lynch dirait-on), rouge des juxtapositions rétro-futuristes, or des drones… Au dos, les Baal 2 et Baal 5, dans un genre plus spatial, mais toujours ambient. On y sent d’ailleurs moins les guitares. A la place un canon à drone qui envoie la note de plus en plus fort. Plochingen a au moins l’art de créer des atmosphères et ce n’est, je crois, pas rien.
Frans de Waard at Vital Weekly
From Brussels hails one Plochingen, who just released an odd tape. There is not much further information available, and also judging from the music itself, it’s not easy to determine what we hear. According to the info sent by the label it’s truncated field recordings and primitive electronics’ – the latter is something I can hear but the field recordings are not always easy to spot around here. in ‘Baal 1′ we hear some, but most of the times it’s these somewhat crude electronics. Crude but it’s not really the kind of noise you would think it would be. I thought it was actually quite refined in all its crudeness and unrefinedness. There was something quite captivating in these four pieces, which made me listen and listen. Maybe because this was on repeat for a while today, me doing other business for a while, and in the background these pleasant gritty tones. Maybe disturbing, as the label suggests, but I didn’t think this to be very disturbing at all. That, however, doesn’t qualify this as ambient per se, but these minimal, sustaining tones, these glissandi from cheap synthesizers and buzzy electronics did work pretty well. With or without field recordings I guess. Quite a fine release. (FdW)


released December 20, 2013




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