![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093.jpg\" "\\"Vertikale")
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Vertikale Skift | Terje Paulsen<\/a> & \u00c1kos Garai<\/a><\/strong> Reviews<\/a><\/p>\n <\/p>\n Vertikale Skift, composed by Terje Paulsen (Norway) and \u00c1kos Garai (Hungary), guides the listener through a series of alluring sound environments, ranging from discretely layered drones that highlight upon faint listening spectrums into dense tapestries of sound divulging complex layers of sonic interplay. The environmental aspects assoicated with these recordings are quite evident, however, the content also reflects a definite sense of intent, as the compositions are further processed and arranged in such a manner whereby the result is an all-encompasing listening enviroment. With that said, there’s an inherent sense of momentum and dynamic to the recordings that comprise Vertikale Skift, making it one of the more unique sound-based release I’ve heard in some time and a release not to be missed!<\/p>\n Christopher McFall \/ May 2011<\/p>\n <\/p>\n MP3<\/a><\/p>\n 01\u00a0\u00a0 Skisse 8\u00a0 (Paulsen)\u00a0\u00a0 4:42 MP3<\/a> 09\u00a0\u00a0 Waterworks IV\u00a0 (Garai)\u00a0\u00a0 8:32<\/p>\n <\/p>\n 09 Tracks (55\u203234\u2033)<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Tracks 1,4,5,7,8 recorded and composed by Terje Paulsen August 2010 <\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Ross Baker | Musique Machine<\/a><\/strong> <\/p>\n It would be easy to simply approach Vertikale Skift from the perspective of comparing the two composers‘ strikingly different techniques (Paulsen’s ‚Skisse‘ tracks source their sounds from computer-based electromagnetic signals, which gives them a much colder, sharper feel than Garai’s more organic ‚Waterworks‘ set), but this would miss the point of the record: to draw these approaches together into a single piece, which would work just as successfully if credited to a single artist.<\/p>\n <\/p>\n The release opens with the minimal ‚Skisse 8‘, which works with a narrow range of textures and frequencies, playing instead within the realm of audible dynamics.\u00a0 After the almost oppressive drone layers of ‚Waterworks II‘, ‚Skisse 9‘ and ‚Skisse 10‘ provide respite; ‚Skisse 10‘ veers away from layers of crackling to near silence, to return minutes later with a much denser tapestry, eventually fading seemlessly into ‚Waterworks III‘.\u00a0 The final piece, ‚Waterworks IV‘, initially working with a reverberated drone, seems to operate in a similar territory to the opening piece, before a much louder section draws the album to a close with its most intense five minutes.<\/p>\n <\/p>\n Dynamic, then, is the key to Vertikale Skift’s success.\u00a0 Over the course of the album, and within the pieces themselves, there is constant movement; even within seemingly static sections, a sense of sonic depth is always present.\u00a0 Whilst many lesser field recording-based works take existing sounds and turn them into a sterile sound piece, Vertikale Skift creates a real listening environment: one which, although artificially created, retains the space and time of an actual place.\u00a0 A fine electro-acoustic work which continues the high standards we’ve come to expect from Gruenrekorder.<\/p>\n link<\/a><\/p>\n <\/p>\n Richard Allen | a closer listen<\/a> link<\/a><\/p>\n <\/p>\n Guillermo Escudero | LOOP<\/a><\/strong><\/p>\n This is a new collaboration between sound artists Terje Paulsen (Norway) and \u00c1kos Garai (Hungary) and this isn\u2019t a pure field recording release in this series. www.3leaves-label.com<\/a><\/p>\n sites.google.com\/site\/terjepaul<\/a><\/p>\n link<\/a><\/p>\n <\/p>\n Gruenrekorder (Tom Lawrence<\/a>, James Wyness<\/a>, Terje Paulsen<\/a> & \u00c1kos Garai<\/a>, Eisuke Yanagisawa<\/a>, Ernst Karel<\/a>) mentioned @ The Field Reporter \/ 2011 Final Report<\/strong><\/p>\n A few words by The Field Reporter Editor Alan Smithee plus PART I of the lists with the most relevant works of 2011 made by our staff and other artists, curators and journalists.<\/p>\n
\nGrDl 093 | Gruen Digital > [order<\/a>]
\nMP3 & FLAC<\/p>\n
\n02\u00a0\u00a0 Waterworks I\u00a0 (Garai)\u00a0\u00a0 3:57
\n03\u00a0\u00a0 Waterworks II\u00a0 (Garai)\u00a0\u00a0 5:33
\n04\u00a0\u00a0 Skisse 9\u00a0 (Paulsen)\u00a0\u00a0 6:50
\n05\u00a0\u00a0 Skisse 10\u00a0 (Paulsen)\u00a0\u00a0 6:11<\/p>\n
\n06\u00a0\u00a0 Waterworks III\u00a0 (Garai)\u00a0\u00a0 9:06
\n07\u00a0\u00a0 Skisse 11\u00a0 (Paulsen)\u00a0\u00a0 7:09
\n08\u00a0\u00a0 Skisse 12\u00a0 (Paulsen)\u00a0\u00a0 3:30
\nMP3<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Waterworks-1.jpg\" "\\"Vertikale")
<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Waterworks-2.jpg\" "\\"Vertikale")
<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Waterworks-3.jpg\" "\\"Vertikale")
<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Waterworks-4.jpg\" "\\"Vertikale")
<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Skisse-8.jpg\" "\\"Vertikale")
<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Skisse-10.jpg\" "\\"Vertikale")
<\/a><\/p>\n![\"Vertikale](\"https:\/\/www.gruenrekorder.de\/Photos\/grdl_093\/Skisse-12.jpg\" "\\"Vertikale")
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\nTracks 2,3,6,9 recorded and composed by \u00c1kos Garai September-October 2009
\nThis album edited, compiled and mastered by \u00c1kos Garai October 2010
\nFront cover by \u00c1kos Garai<\/p>\n
\nGruenrekorder \/ Germany \/ 2011 \/ GrDl 093 \/ LC 09488<\/p>\n
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\nWithin experimental music, collaborative releases are common, and the results are often an intriguing chance to try and work out exactly where one artist’s input ends and the other begins; split releases, on the other hand, allow for a broad listening experience of two halves.\u00a0 For this release on Gruenrekorder, however, Terje Paulsen and \u00c1kos Garai have provided individual pieces which highlight the differences and contrasts between their own approaches, while retaining the track sequencing of a single album.<\/p>\n
\n<\/strong>An initial look at the digital download implies that the tracks are out of order: five \u201cSkisse\u201d tracks from Norway\u2019s Terje Paulsen interspersed with four \u201cWaterworks\u201d tracks from Hungary\u2019s \u00c1kos Garai, founder of the 3leaves label. And yet to separate the two is the dim the light of the entire project. Paulsen and Garai were onto something with their game plan, because the album works best with the current track sequencing. Skisse is the Norwegian word for sketch or study, and Paulsen\u2019s quieter contributions do at first seem like outlines: the impressionistic borders to Garai\u2019s glistening sheets. A puzzle needs a frame, and the contrast between the thick and the thin helps the listener to appreciate both. In \u201cWaterworks I\u201d, the water sounds like a burst pipe; in the second segment, the deluge has slowed to a trickle, but wanders speaker-to-speaker like an unidentifiable leak. Paulsen surrounds these entries with his own studies of static and silence, guaranteeing that the white noise and whirl of \u201cWaterworks III\u201d will be welcomed when they arrive. But by the end of this piece, Garai seems to have turned contemplative as well; perhaps the two are not so far apart as they initially seemed. As each composer presents his final piece, Vertikale Skift morphs into a single tale.<\/p>\n
\nThey combine found sounds and the electronic processing offering a wide range of sounds, radio airwaves, sharp edge elements, post-Industrial hum and drones producing dark soundscapes.<\/p>\n