{"id":1645,"date":"2017-12-08T09:10:47","date_gmt":"2017-12-08T14:10:47","guid":{"rendered":"http:\/\/www.fraufraulein.com\/billy\/?p=1645"},"modified":"2017-12-08T10:25:04","modified_gmt":"2017-12-08T15:25:04","slug":"fluid-radio-explores-heavy-objects","status":"publish","type":"post","link":"https:\/\/www.fraufraulein.com\/billy\/2017\/12\/fluid-radio-explores-heavy-objects\/","title":{"rendered":"Fluid Radio explores <em>heavy objects<\/em>"},"content":{"rendered":"<p>Nathan Thomas explores ideas of space and environment on <em>Heavy Objects<\/em> and Giovanni Lami&#8217;s <em>Hysteresis<\/em> work:<\/p>\n<p>&#8220;Lami and fraufraulein approach the problem of how to respond musically to environmental sounds in very different ways, but the results are equally intriguing. The differences are pointed to by the titles they use: \u2018Hysteresis\u2019, a word denoting a system that incorporates some lag, delay, or history dependence, refers to process; \u2018when we evaporate\u2019 names the intention to actually evaporate into the environment, including a time and a voice to place the emphasis on affect. Translating into the language of the visual arts, you could call Lami\u2019s technique a sort of live, instantaneous cut-up or collage, while fraufraulein mobilise the desire, often expressed in the annals of art history, to step through the canvas and into the painting.&#8221;<\/p>\n<p>full writeup below:<\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"KRPHVlLeO3\"><p><a href=\"https:\/\/www.fluid-radio.co.uk\/2017\/12\/giovanni-lami-fraufraulein\/\">Giovanni Lami \/ fraufraulein<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Giovanni Lami \/ fraufraulein&#8221; &#8212; Fluid Radio\" src=\"https:\/\/www.fluid-radio.co.uk\/2017\/12\/giovanni-lami-fraufraulein\/embed\/#?secret=6MT60sGe1R#?secret=KRPHVlLeO3\" data-secret=\"KRPHVlLeO3\" width=\"500\" height=\"282\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><!--more--><\/p>\n<p>&nbsp;<\/p>\n<p>Giovanni Lami\u2019s \u201cHysteresis\u201d project is produced entirely\u00a0<em>in situ<\/em>\u00a0in various outdoor locations using microphones and reel-to-reel tape: at the same time as some reels are recording the sounds from the microphones, others are being played back and manipulated on the fly by physically reshaping the running tape or by placing objects on it. The recordings themselves become material to be worked with, and are subject to sudden stops and starts, rewinds and fast forwards, speeding up and slowing down, etc., all done in a subtle and tasteful way. At the same time, the sounds emanating from the manipulations \u2014 the various spinnings, buzzings, shufflings, poppings, scrunchings, hissings, and burstings \u2014 do not give the impression of becoming part of the sound worlds of the field recordings, but instead sit at one remove from them.<\/p>\n<p>This contrasts with the approach fraufraulein take in their piece \u2018when we evaporate\u2019. Here, the sounds of an outdoor environment, with the murmur of voices, rumbling of traffic, and clatter and bang of what could be fireworks or construction noise, is augmented by French horn and bass guitar. It seems clear from the quiet restraint, low pitch, and sparse note density of the two instruments that their intention is to merge with the sounding environment, to become, to a large degree, part of the scenery. The exception to this, perhaps, comes at the end when faint regular tapping on the bass strings produces a chugging rhythm. Because of the work done earlier to integrate the instruments with the rest of the sounds, this rhythm changes the perception of the entire auditory field.<\/p>\n<p>(\u2018when we evaporate\u2019 is paired on the album \u201cheavy objects\u201d with the piece \u2018one of us always tells the truth\u2019 for objects and electronics. Ceramic chinks and wooden taps contrast with metallic dings and ringing chimes of various pitches. The nice thing here, aside from the interesting timbres, is the movement between relative intensity and calm, a structure dictated by the pace at which performers Billy Gomberg and Anne Guthrie switch between different sounds.)<\/p>\n<p>Lami and fraufraulein approach the problem of how to respond musically to environmental sounds in very different ways, but the results are equally intriguing. The differences are pointed to by the titles they use: \u2018Hysteresis\u2019, a word denoting a system that incorporates some lag, delay, or history dependence, refers to process; \u2018when we evaporate\u2019 names the intention to actually evaporate into the environment, including a time and a voice to place the emphasis on affect. Translating into the language of the visual arts, you could call Lami\u2019s technique a sort of live, instantaneous cut-up or collage, while fraufraulein mobilise the desire, often expressed in the annals of art history, to step through the canvas and into the painting.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nathan Thomas explores ideas of space and environment on Heavy Objects and Giovanni Lami&#8217;s Hysteresis work: &#8220;Lami and fraufraulein approach the problem of how to respond musically to environmental sounds in very different ways, but the results are equally intriguing. The differences are pointed to by the titles they use: \u2018Hysteresis\u2019, a word denoting a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"enabled":false},"version":2}},"categories":[30,4,26],"tags":[23,81,98,28,69,83],"class_list":["post-1645","post","type-post","status-publish","format-standard","hentry","category-fraufraulein","category-music","category-review","tag-cassette","tag-digital","tag-fluid-radio","tag-music","tag-review","tag-tapes"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1633,"url":"https:\/\/www.fraufraulein.com\/billy\/2017\/11\/brian-olewnick-on-heavy-objects\/","url_meta":{"origin":1645,"position":0},"title":"Brian Olewnick on Heavy Objects","author":"billy gomberg","date":"November 22, 2017","format":false,"excerpt":"A rare missive from Brian Olewnick's woodsy retreat: How nice to have some new Fraufraulein! Anne Guthrie (French horn, objects) and Billy Gomberg (electronics, bass guitar) have a special way of creating all-but-casual soundscapes from found materials and horn snippets, often subtly underlined by Gomberg's essentially melodic take on things.\u2026","rel":"","context":"In &quot;fraufraulein&quot;","block_context":{"text":"fraufraulein","link":"https:\/\/www.fraufraulein.com\/billy\/category\/fraufraulein\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1623,"url":"https:\/\/www.fraufraulein.com\/billy\/2017\/10\/fraufraulein-heavy-objects-csdigital-marginal-frequency-2017\/","url_meta":{"origin":1645,"position":1},"title":"fraufraulein heavy objects (CS\/Digital, Marginal Frequency 2017)","author":"billy gomberg","date":"October 17, 2017","format":false,"excerpt":"new cassette on Marginal Frequency - new domestic improvisations from Anne & I. MFCS G | fraufraulein - heavy objects by fraufraulein","rel":"","context":"In &quot;fraufraulein&quot;","block_context":{"text":"fraufraulein","link":"https:\/\/www.fraufraulein.com\/billy\/category\/fraufraulein\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/a0484077106_10.jpg?fit=1200%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/a0484077106_10.jpg?fit=1200%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/a0484077106_10.jpg?fit=1200%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/a0484077106_10.jpg?fit=1200%2C1200&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/a0484077106_10.jpg?fit=1200%2C1200&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1652,"url":"https:\/\/www.fraufraulein.com\/billy\/2018\/01\/heavy-objects-in-syg-ma\/","url_meta":{"origin":1645,"position":2},"title":"Heavy Objects in Syg.ma","author":"billy gomberg","date":"January 26, 2018","format":false,"excerpt":"recent posting on the Russian site Syg.ma, touched up google translation: The duo Fraufraulein continues to cultivate the territories of the electro-acoustic-field recordings-ambient.\u00a0Formally, we can refer to their activities in the North American underground, specializing in experimental Improv, intelligent noise electronics and other areas, which widely bloomed in the early\u2026","rel":"","context":"In &quot;fraufraulein&quot;","block_context":{"text":"fraufraulein","link":"https:\/\/www.fraufraulein.com\/billy\/category\/fraufraulein\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1630,"url":"https:\/\/www.fraufraulein.com\/billy\/2017\/11\/heavy-objects-in-dusted\/","url_meta":{"origin":1645,"position":3},"title":"Heavy Objects in Dusted&#8230;","author":"billy gomberg","date":"November 12, 2017","format":false,"excerpt":"the word from Bill Meyer at Dusted: Who plays the music and who deals with the baby? New-ish parents Billy Gomberg and Anne Guthrie had to deal with that question as they made Heavy Objects, and that circumstance offers one explanation for the tape\u2019s restraint. While a French horn, bass\u2026","rel":"","context":"In &quot;fraufraulein&quot;","block_context":{"text":"fraufraulein","link":"https:\/\/www.fraufraulein.com\/billy\/category\/fraufraulein\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1621,"url":"https:\/\/www.fraufraulein.com\/billy\/2017\/10\/fraufraulein-in-hibias\/","url_meta":{"origin":1645,"position":4},"title":"fraufraulein in HiBias!","author":"billy gomberg","date":"October 31, 2017","format":false,"excerpt":"super happy to be included in the October '17 edition of Marc Masters' great HiBias column for Bandcamp, talking about heavy objects, living with music, being a family... https:\/\/daily.bandcamp.com\/2017\/10\/31\/hi-bias-october-2017\/ full text below: As fraufraulein, the New York-based duo of Andy Guthrie and Billy Gomberg make music that feels telepathic, as\u2026","rel":"","context":"In &quot;fraufraulein&quot;","block_context":{"text":"fraufraulein","link":"https:\/\/www.fraufraulein.com\/billy\/category\/fraufraulein\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/hi-bias-oct-2.gif?fit=600%2C400&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/hi-bias-oct-2.gif?fit=600%2C400&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.fraufraulein.com\/billy\/wp-content\/uploads\/2017\/10\/hi-bias-oct-2.gif?fit=600%2C400&ssl=1&resize=525%2C300 1.5x"},"classes":[]},{"id":987,"url":"https:\/\/www.fraufraulein.com\/billy\/2013\/03\/310-kamermantheriault-fraufraulein-la-sala-brooklyn\/","url_meta":{"origin":1645,"position":5},"title":"3\/10: Kamerman\/Theriault, fraufraulein @ La Sala, Brooklyn","author":"billy gomberg","date":"March 6, 2013","format":false,"excerpt":"Sunday, March 10, 2013 8:00pm Richard Kamerman and Doug Theriault RK: motors, objects, SuperCollider DT: guitar, max\/MSP fraufraulein (Anne Guthrie & Billy Gomberg) AG: French horn BG: synthesizers \"Doug Theriault investigates the reciprocal contamination of creative means and sensibilities. He uses varied organic and electronic sound instrumentation, light gradients (sensors),\u2026","rel":"","context":"In &quot;event&quot;","block_context":{"text":"event","link":"https:\/\/www.fraufraulein.com\/billy\/category\/event\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/posts\/1645","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/comments?post=1645"}],"version-history":[{"count":2,"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/posts\/1645\/revisions"}],"predecessor-version":[{"id":1647,"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/posts\/1645\/revisions\/1647"}],"wp:attachment":[{"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/media?parent=1645"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/categories?post=1645"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fraufraulein.com\/billy\/wp-json\/wp\/v2\/tags?post=1645"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}