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006 SONIC KITCHEN - ST

artist: Sonic Kitchen
titel: st
cover art: Stephane Leonard
format: CDR
general: naivsuper NASU 006
created by Sonic Kitchen between 2004 - 2005
mastered at Cook Ook
released by naivsuper
p + c 2005 naivsuper & Sonic Kitchen
all rights reserved
€ 6.00 ADD TO CART GO TO SHOP

1. Walnut Blues - 7' 53" // 2. Storm - 5' 41" // 3. Part One - Live at Atonic Cafe * - 15' 17" // 4. Part Two - Live at Atonic Cafe* - 8' 37"
full-lenght: 36:48 min

Soundexploration.
Sonic Kitchen is research in sound with the focus on the deconstruction, dismantling and decomposition of analogue and digital, sampled and live recorded material. Balancing on the edge where tone and sound divide, Sonic Kitchen create a steady flux of miniature innovations and sharply cut sound sculptures.
As with other naiv super artists like dis.playce and Stephane Leonard who mix genres, overcome boundaries and white noise transitions the perusing on arrangements, structures and textures comes to your ears.
Sonic Kitchen take a look at the world of sounds through the musical microscope. They make audible what usually would disollute without a trace. Crackings and crunches on top of layered atmospheres, clatterings, microphones attached to forks and table tennis balls. Field recordings and synthesizer citations... Everything can become a source of sound with Sonic Kitchen. Often just one step away from utter chaos they never loose contact. They are constantly reshaping what comes to their ears for the pleasure of the interested listener who enjoys being confronted with even the most abstract structures. Disturbing wallowings, crunchy vibrations, strong potions, energetic bashes, then again solemn wanderings, totterings and almost collisions - that's how the pieces progress like little fire works which freeze abruptly moments away from their climax just to be cropped down from the heavens with even greater playfulness and attention.

Klangerforschung
Sonic Kitchen betreibt Geräuschforschung.
Dabei stehen das Dekonstruieren, Zerstückeln und Zerteilen von analogem und digitalem, gesampelten und live eingespieltem Tonmaterial im Vordergrund.
Auf der Schwelle zwischen einem Ton und einem Geräusch balancierend, erzeugt Sonic Kitchen einen stetigen Fluss von Miniaturinnovationen und scharf herausgeschnittenen Klangplastiken.
Das Nachsinnen über Arrangements, Struktur und Textur wird hier gleichsam hörbar wie jenes Durchschreiten der Genres, das Überwinden von Grenzen und Verzerren der Übergänge, welches wir schon bei anderen naiv super Künstlern, wie dis.playce und Stephane Leonard bewundern durften.
Sonic Kitchen betrachten die Klangwelt durch ein musikalisches Mikroskop. Sie machen hörbar und lassen klingen, was sonst nur als Nebengeräusch spurlos verhallt.
Knacken und Knirschen über geschichteten Atmosphären, Klapperndes, mikrophonierte Gabeln und Tischtennisbälle, Fieldrecordings und Synthesizerzitate... Alles kann bei Sonic Kitchen zur Klangquelle werden. Oft kurz vor dem Chaos treiben sie es nie zu weit, basteln unaufhörlich aneinander was ihnen vor die Ohren kommt, um den geneigten Zuhörer mit immer noch abstrakteren Strukturen zu konfrontieren. Ein verstörtes Walzen, ein knisterndes Kribbeln, starke Dosen, kräftige Stösse dann wieder langsames Dahinschreiten, holpern und beinahe stürzen... so breiten sich sich die Stücke aus, wie ein kleines Feuerwerk, welches dann ganz knapp vor dem Höhepunkt eingefroren wird, um mit grösster Spielfreude und Sorgfalt wieder vom Himmel abgeerntet zu werden. So bekommt man die grösste Lust da mitzuspielen und macht es vielleicht auch - einfach so...

REVIEWS

Vital Weekly #512

When I read the name Sonic Kitchen and hear their release, then I can't help to think that Dennis Tan and Marc Pira turned over the kitchen into a sonic workplace, even when it is nowhere mentioned in the press text. 'Amplified Objects On Table, guitar' is what Pira plays whilst Tan plays 'field recordings, sine, laptop live sampling'. Two tracks here are studio tracks and two are live recordings. To a large extent Sonic Kitchen are a somewhat raw musique concrete group, taking electro-acoustic sounds as their basic materials, and feed them freely into the laptop to make all sorts of alterations and processing. In the studio cuts this is done rather nicely, in a more subtle and softer, a bit microsounding way, whereas the live pieces are more chaotic, disturbed and sometimes less concentrated. Sounds bounce around, collide against each-other and sometimes are shot away into the deep far end. I'd say it's all together lesser in the areas of micro-sound, and more on a cross-road where improvisation, composition and electro-acoustics meet up. Quite intense at times, sometimes they miss the point, but with original intentions. (Frans de Waard)

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