t17 / q12
split cassette / download edition
100 copies, on pink cassette
€ 8 (including international postage)
also available as a digital download through bandcamp
(where you can also stream the music for a quick preview)
a: unan – mimus [21:29]
[chris chondropoulos: vinyl, turntable, processing]
b: nikos kyriazopoulos – skua [18:06]
[nikos kyriazopoulos: analog electronics]
co-produced with a question of re_entry
a question of re_entry #12
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This split-in-two-sides cassette pairs two greek artists’ responses on the subject of birdsong. Some time ago Nicolas Malevitsis (of absurd fame) asked them to contribute a piece each, on the sole premise that the work would be based, or derive from, bird sounds. Unan (aka Chris Chondropoulos) brought back a curious collage work called ‘mimus’, built from the sounds and textures of scratchy vinyl culled over time by the artist from athens’ record shops. Focusing on structure and reflecting avian language on another medium, Chondropoulos delivers an unanticipated little gem of musique concrete . Of ‘skua’, Nikos Kyriazopoulos only very cryptically says that he ”had no other choice but to tweak some knobs”. He was obviously not very interested in revealing methods and technical details, on a piece that speaks for itself by aligning its analog electronics uncannily close to birdsong in a creatively mimetic fashion. This side as well, isn’t any more lacking in thrills, and it makes for a perfect companion piece in this curious little ode to one of humanity’s most favorite muses.
Unan (Chris Chondropoulos) is an Athens based multi-percussionist and electronic music producer. Apart from his personal projects, he also appears as a member of the experimental band Xysm.
Nikos Kyriazopoulos works on a wide range of interests, from the sound of human invention to the natural landscape and hydrophony. He also designs atavistic soundscapes using filters, microphones and self-constructed electronics. Experiential hearing and the bodily felt sense is what characterizes his live performances.
