Joe Colley - knowing when to not know
  Year :   2001
  Location :   Greece
  Worktype :   3 CD
  Materials:   -
  Info : recorded by Francisco López and Joe Colley at the studio for regenerative cosmetics, sacramento, california: summer 2001

  Work Details  
  A short and perplexing minidisc here, resulting from what may have been a fleeting encounter between the roaming Spaniard and California-based sound artist Joe Colley. In spite of its extrme abstraction, the work of Lopez never sounds like the product of a man who lives in his studio. Rather, there is always this outdoor quality to the music everything reflecting the glories of breathing, waliking and living en plain air. This may be down to the source material he uses (often field recordings), but it also tends to reflect the semi mythical role that is starting to accrue around him: Lopez the voyager like a young Odysseus, flying from coast to coast across a restless ocean, as he ministers to his record label that has three international headquarters. Creating music out of his meetings with people, turning the journeys and the places into acoustic art. But importantly, he always takes the sounds back out into the world, so they become a part of it again. I like the story about this composition having its own adventures before it ends up in Lopezs traveller bag. Silence, emptiness, dead air.. the void of nothingness. Water. Then added layers of treated white noise. Knowing when to not know becomes impossibly intense, loud and impenetrable - acquiring an aura of menace. Everything fades away quickly leaving a lonely dissipated sound to blow away helplessly across an empty wasteland. Were stranded in another tract of silence, emptiness and dead air. Then, inexplicably a quiet muffled sound hovers in the air - we can barely hear them but there are instruments, guitars, drums and organ, a fourth rate funk band are playing throught the wrong end of the telescope, dancing like tiny red ants on the antihill. The futility of mans endeavours starts to weigh upon your shoulders. The CD ends abruptly. Finis. The brevity of this composition has not prevented Lopez from realising yet another powerful statement. Ed Pinsent ANGBASE (US) Two minutes of almost complete silence begin this track before a slight electrical hum grows into a dense insect-like buzz accompanied by what sounds like a steady rainfall. The density continues to grow into a claustrophobic drone full of blurred masses of sound - a very carefully assembled collage of noises and frequencies, mixing the field recorded sounds of rain and insects with long sustained tones and digitally stretched sounds. The track falls back into almost (but not quite) complete silence again at the 12 minute mark as it coasts to the ending with a perplexing six minutes of silence. Accessed 6.11.06 from