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Petrification and Strife / Reviews

By Anonymous
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"With open mic in hand this is a survey of surfaces, of in-situ found object play, with small twists and crackle along the way. I feel as if I am sitting in the crook of a tree limb that is vaguely swaying in the wind, catching the air just so. Likely, given its title, there just may be a small firestarter with this wood, but either way, this is so completely wide-eyed it will delight the most curious.

I can truly appreciate the slowness here, the anticipation of these playful micro-actions is discernible. Other than the greatly amplified tactile sounds Sulidae does not seem to throw in too many curveballs, effects or otherwise, it’s a pure reserved, atonal work. On the flipside, Strife continues on these themes, though with a distant wind suddenly I’m experiencing this sense of ghost town. Being someone that has visited a few actual abandoned towns over many moons, I can tell you that they do not actually sound like this, however, in the sense of aural cinema the recording has this sense of presence.

Objects tumble, ratchet, float, sizzle, slosh and otherwise do so sans dialogue. The human presence is left to the imagination, and it goes into a rather primitive space in the minds eye. The addition of the outdoor elements of air and ocean really embolden the agile processes taking place. These isolated movements and manipulations are quizzical in the way in which that are laid out, there is no sense of rhythm or repetition, this is true musique concrète in the classic sense. It’s a very active sound, stirred up squarely between its silences."

Vital Weekly

"Philip Sulidae has the shortest tape, around twenty-six minutes, and he uses 'contact mics, wire, field recordings, computer and software' and the two pieces are curious collages of sounds that are very obscure. He takes a walk through Sydney, armed with a handheld recorder and his contact mics and tapes the environment, the metallic railings, drips and drops of water, tapping on the pavement, or below, walking about, mics in a plastic bag and so on. Once at home he goes for the most crackling of affairs and adds very nifty bits of delay and reverb in occasional places, sticks seemingly random events in an order, adds open microphone of rain and thunder and thus paints this odd sound picture of the city.

If of course this is what he does. As usual I very limited knowledge of how these matters work. I might be entirely wrong of course. But being someone who loves to stick contact microphones onto streetlights, flagpoles and rabbit cages, I think this is a wonderful head trip, leaving a lot to imagine and Sulidae managed to capture some truly strange sounds, which made me occasionally wonder if it wasn't something in my own space, just was the illusion spun by Sulidae and that's how soundscapes like this work best for me. Some scary shit, indeed."

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