The Alcohol Seed
"Sulidae’s work that I’ve heard has tended to sit somewhere loosely around a found-sound and caustic field recording style. I noticed the label has future plans to release music from Eamon Sprod (Tarab), a fellow Australian whose work bares a striking resemblance to Sulidae’s. One can sense a musical dialect forming. There is a liveliness to Variations on Plastic, blossoming out of a restless patchwork of sounds that take plenty of unexpected turns. Perhaps most striking is the intimacy of this music, where object and/or phenomena feel closely mic’d. Sulidae is inspired by the musical potential of everyday objects like cans, twine, sticks and tin, and the often clumsy, unremarkable sounds they produce. In Sulidae’s hands, however, he almost makes them remarkable when swathed in electroacoustic feedback. Nice touch to leave in certain sounds that clue the listener in on surrounding human activity, such as the honk of a car horn or the sound of footsteps, momentarily freeing one from the unknown by providing a familiar marker. A fine inaugural release."
The Sound Projector
"Made with wire, contact mics, computer and software, and field recordings of what seem to be common everyday noises around him, “Variations on Plastic” by Philip Sulidae is an intimate if very sparing work that encourages listeners to become more aware of their immediate surroundings and reflect on how they interact with their environments, how they are shaped by them and how they in turn shape their environments and perhaps influence other inhabitants (including other people) of those surrounds. This is a very busy recording bursting with stories of many secrets if listeners are prepared to take the time to hear them in full . . The longest track “Fortune in Case of Artefact” at 8+ minutes just whizzes by so quickly, so deeply absorbed are your senses in that track’s constant din of crisp pointillist noise, the machine drones that pass overhead and, encompassing the whole piece, the quietly bubbling atmosphere that keeps promising something new and very different from what’s come and gone before."
"I believe to note a distinction on his work, as in various interests. Sometimes he deals with field recordings and at other times with objects and sounds. This new tape falls mostly in the latter category and a little bit in the first. I am not sure what method of operation Sulidae used here in doing his work, but I could easily believe he recorded the five pieces on his balcony or backyard, out in the open, as we hear traffic passing and occasional other outdoor sounds, but just as easily he could also record these sounds of wires, cans and other assorted found objects and mix them along with previous made recordings out on the streets of Sydney where he lives. He writes it favours ‘cubist and oblique audio architecture’, which is not something I easily can see in these pieces, but I enjoy the quiet yet direct approach of his music. Direct in that sense that there isn’t a lot of additional sound effects and quiet, well, because it has the usual Sulidae approach to a more poetic way of using sounds, be it field recordings or objects. You could wonder if the format of cassette does justice to such a delicate approach, but in case of doubt you can always refer to the download."