The Wayward Regional Transmissions


http://www.soundproector.ru

Израильский музыкант Ran Slavin и португальский лейбл Crónica подготовили очень изящный по своему музыкальному составу выпуск, получивший название The Wayward Regional Transmissions. Культура среднего востока, представленная 
музыкальными инструментами стран этой местности, предстает здесь в содружестве с шероховатой glitch обработкой и эффектами. Звучание такого теплого аудио коктейля можно описать как смесь цифровой пост музыки, пережившей все мыслимые 
революции сферы звукового оборудования, с самобытной и крайне консервативной восточной культурой.

В записи принимала участие Ahuva Ozeri, чей индийский струнный инструмент со сложнопроизносимым для русского человека названием BulbulTarang, звучит в 1, 2, 6 и 8-м треках. Это, без сомнения, один из определяющих моментов альбома, 
подчеркивающий настроение и концепцию. Начиная со стартового трека Village, нас обдувает сухим и жарким ветром звука BulbulTarang`а, пропущенного через ломающие алгоритмы Рана Славина. Шорохи, скрипы и цифровые царапины отлично 
текстурируют аудио продукт, полученный от переборов трех струн и полевых записей, заполняя все вокруг нестатичной вязкой субстанцией. Порой, деструктивная составляющая может преобладать, превращая музыку в пример эстецкого цифрового 
минимализма, как в продолжительном Jericho 6AM. Но такой подход ничуть не снижает присутствия одухотворенности и настроения в альбоме The Wayward Regional Transmissions, который можно советовать поклонникам абстрактной 
экспериментальной электроники, лишенной четкой структуры и определенности происходящего. 
http://www.soundproector.ru


06.2007 The Wire
Sound/video artist Ran Slavin, an Israeli, uses aerial photography of the Middle East as a visual underpinning to The Wayward Regional Transmissions, which follows last year's Insomniac City CD + DVD release 
on Mille Plateaux. Apart from the hint offered in the title "Shelters and Peace", there is very little sense of the political strife in the region. This is more a warped and filtered celebration of its 
topographical virtues, folk traditions and general aromas. "Jericho 6AM", featuring the oud of Moshe Eliahu, conveys, in its distant drones and sampled folk, a pregnant and palpable sense of the heady 
emptiness of dawn, creating an atmosphere you can almost reach out and bite. "Village" is built around the traditional bulbul tarang of Ahura Ozeri, as is "Wayward Initial", Techno-cubistic takes on 
this instrument otherwise known as the 'Indian banjo'. "Dat Beats" could be seen as an "elaboration" on a more famous exploration of this particular audio subject matter — CAbaret Voltaire's Three Mantras.
David Stubbs


06.2007 Music-scan
Die Fusion und Kreuzung verschiedener Musikstile und Genres ist ja nichts Neues, sondern vielmehr an der Tagesordnung im musikalischen Werken dieser Tage. Kaum noch jemand kommt ohne eine Genre- und 
Grenzüberschreitung aus und oft genug reicht dies schon als Legitimierung einer Veröffentlichung beziehungsweise eines musikalischen Entwurfs. Dass dies natürlich einer gewissen Lächerlichkeit aufsitzt, 
haben scheinbar bisher nur wenige bemerkt. Auch Ran Slavin versucht sich an einer Zusammenführung von eigentlich disparaten musikalischen Strömungen und gewinnt. Auf seinem neuen Album „The Wayward Regional 
Transmissions“ verbindet er auf sehr originelle und durchweg unpeinliche Art und Weise typisch abstrakten Glitch mit traditionellen Musikfragmente des Nahen Ostens. Insbesondere die Zusammenarbeit mit der 
Mizrahit Musikerin Ahuva Orezi hat kreative Früchte getragen, die die Highlights dieses Albums ausmachen. Der Waschzettel spricht hier von „Oriental Abstract Spiritual Music“ und könnte damit sogar 
ausnahmsweise mal Recht haben, denn Slavins Soundentwürfe bleiben stets distanziert und abstrakt und lassen sich niemals in eine kulturelle oder geographische Verortung festschreiben. Es scheint, als ob Slavin
die Dinge von einer gewissen Entfernung beobachtet und sie dann in einer neuen Dimension wieder aufgreift beziehungsweise rekontextualisiert. Die Veränderung die damit unweigerlich einhergehen, sind ungemein 
spannend und wer Glitchsounds insgesamt nicht abgeneigt ist, sollte hier definitiv ein Ohr riskieren.
Matthias


06.2007 Rockerilla
Dopo una prova esaltante come "Product 02" era difficile aspettarsi una rigenerazione così veloce e coerente; ed invece Ran Slavin, probabilmente la migliore sperimentatrice da Tel Aviv, torna con un progetto 
di assoluto valore. "The Wayward Regional Transmissions" riesce ad intersecare le strade – apparentemente inconciliabili – della musica elettronica e della tradizione mediorientale. Il risultato è a dir poco 
esaltante, poiché le alterazioni, il glitch e le astrazioni digitali agiscono sulla materia sonora di questa terra con enorme rispetto ma anche con incontenibile senso di rinnovamento. La collaborazione con 
Ahuva Ozeri, la grande star della musica Mizrahit in oriente, completa un disco di eccezionale valore artistico e di indiscutibile fascino.
Michele Casella


04.2007 e/i magazine
The Wayward Regional Transmissions, though of a fascinating genesis, might be taken as an act of cultural appropriation. Conceived as a function of its unwaning reproduction, another element—Oriental Middle 
Eastern Music —is exhumed and takes a whirl around the Mobieus strip. There is a certain pleasure in all this promiscuous play, though. And, as it happens, Ran Slavin does not simply embrace a soggy 
eclecticism, but often crafts a vibrant gestural language from these disparate musical surfaces. The medium may be the message, then, but at this point, the content still manipulates it so as to relay some 
subtle effects. Opener “Village” erects a malleable, unpredictable surface, stimulated by a kaleidoscope of shifting instrumental colors and the raucous yet restrained ebullience of Slavin’s digital 
clicks and stutters. A welter of other tracks favor slowly morphing repetitions and a faint rhythmic sensibility; others opt to juxtapose shimmering textures with the crisp virtuosic attacks of Ahuva Ozeri, 
who lends the voice of her three-steel string indian instrument, the Bulbul Tarang, to many of Slavin’s compositions. On “Shelters And Peace,” if only for brief moments, the Bulbul Tarang peeks through 
the processing and exudes a ritualistic aura, yet even then, carefully placed against the queasy loops, slowly extended harmonic explorations and placid tones, it dwells on another plane, one devoid of 
oxygen, where its many copies serve to render them all artificial and which open the door to numerous reconfigurations. On the other hand, these elements from Oriental Middle Eastern undeniably gives Slavin 
much to play with—and that he does, having them snake and swirl through the seismic force of his programming, adding many shades and creating a rhapsodic aura. Slavin isn’t exactly showing disrespect to 
these traditions, but, much the way most everything is now commutable into computer terms, he is trying to sow them into the fabric of his own musical language. Over the course of the album, these elements 
enter the eternity of artificial memory—a utopia where Oriental Middle Eastern music and abstract electronica exist amiably—and they look strangely at home there.
Max Schaefer


05.2007 Blow Up
Ran Slavin è un artista multimediale di Tel Aviv che si occupa di musica, cinema, video arte e installazioni; ne ricordiamo un buon CD qualche tempo fa ma ha prodotto soprattutto lavori per performance 
live e d’arte contemporanea. In “The Wayward Regional Transmissions” presente otto trace in cui media perfettamente estetica avant-glitch e folk mediorientale; non pensiate perè ai glitch-pop e 
glitch-folk tanto in voga qualche anno fa. Qui tutto è estremamente sommesso e intimista, la catarsi elettronica è un mero strumento attraverso cui si lasciano evaporare campioni di corde 
(e, in un paio di pezzi, sublimi straniti vocalizzi femminili) che ondeggiano come odalische in uno spazio aperto, desertico, annichilito da un caldo soffocante. Solo a tratti le ritmiche prendono corpo 
(DAT Beats) ma anche allora tutto è funzionale alla rappresentazione di un universo in cui ipermodernità e tradizione si sfocano e sfumano, quasi metafora di quel conflito tra spinte al futuro e dolorosi
rigurgiti della memoria che affligge le civiltà di quelle terre
Stefano I. Bianchi


05.2007 Gaz-Eta
Following his excellent reconstruction of Jewish culture in Cracow and industrial revolution revived in Nowa Huta on "Into The Void", Ran Slavin continues on his quest in audio-art on his latest release. 
Moving smack centre into the Middle East region, he brings up ghosts of past and present. Accompanied by a booklet full of detailed aerial photographs [and regular photos too], Slavin's sound is about the 
micro as opposed to the larger picture. When he mutates the bulbultarang [as played by Ahura Ozeri] on four of the album's eight tracks, the sound is unreal. Of course, the instrument is still recognizable,
but the technique that Slavin uses to cut up the sounds into little pockets of audible air is phenomenal. It's as if one were dining at a fancy buffet but was only allowed to eat certain foods slowly, 
without having visibility or access to other food groups. Imagine someone playing with a fader - turning level up and down incessantly for a long span of time - while some highly rhythmic Arabic music was 
being played all around. Much of the sounds processed by Slavin's electronic equipment and computer are jumpy and full of static. Large portion of this is granular and can be compared to lightly buzzing 
radio waves. "Shelters and Peace" features a constant flickering light beat [that actually sounds more like a light switch] that is wrapped around a scan of satellites, radio waves and various noises. 
The most rhythm oriented piece on the album is "DAT Beats", which features a cut'n'paste of various street musicians playing their hearts out. Moshe Eliahu's ud on "Jericho 6 AM" is wrapped up tight in a 
salad of snaps, crackles and bleeps, but in the end, still holds on to its majestic beauty. This isn't an album for everyone. I can only recommend it to those with an accepting ear and an open mind.
Tom Sekowski


05.2007 D-Side
Au fil de ses réalisations, le musicien et vidéaste israélien Ran Slavin n'a de cesse d'explorer la situation complexe de sa région d'origine, écartelée entre deux cultures, deux religions, mais aussi entre 
désert et plages, entre ville et campagne, entre tradition et modernité. Un monde d'oppositions, pas toujours aussi binaire qu'il paraît, dont Slavin rend compte sur The Wayward Regional Transmissions à 
travers des titres mêlant étroitement musique traditionelle et glitch numérique, les lamentations au bulbultarang d'Ahuva Ozeri (une star du genre en Israël) se trouvant ainsi imbriquées dans des vagues 
de crépitements, découpées en minuscules fragments ici ou mises au premier plan ailleurs, comme agrandies, Slavin se concentrant sue un détail, un son de corde qui vient occuper tout l'espace et se répéter 
de manière obsessionnelle. Au croisement des mondes, par dessus la frontière de l'ignorance et de l'incompréhension, la musique de Ran Slavin prouve, brillamment, que lá création peut et doit s'affranchir 
des limites ethno-politiques du monde pour définir de nouveaux territoires, plus libres et plus ouverts.
Jean-François Micard


05.2007 Bad Alchemy
Wie abstrakt und digital zermahlen auch immer, Slavin macht hörbar, dass Israel auch ein orientalisches Land ist. Wesentlich für den Eindruck sind Samples der Bulbultarangspielerin Ahuva Ozeri, 
einer Oud und von 'arabeskem' Radiopopgedudel. Ozeri ist etwas besonderes, eine Virtuosin der indischen Brettzither, eine populäre Singer-Songwriterin der Musiqah Mizrahit, von ihrem Debut Hechan Hachayal 
1975 bis zu Behibak & A Golden Key 2005, eine Frau, die sich in einer Männerdomäne durchsetzte. Aufgewachsen im Kerem Hateimanin-Viertel im Süden von Tel Aviv, pflegt sie den 'souligen', aber meist Männern 
vorbehaltenen traditionellen Klagegesang, der in Israel im Gegensatz steht zu Shirei eretz Israel und zum 'Mediterranen' Stil. Ein fundamentaler Ost-West-Gegensatz von Ashkenzi einerseits und yemenitischen, 
griechischen, arabischen, persischen und türkischen Wurzeln andererseits, der mit Zündstoff reich bestückt ist. Gerade Ozeris Instrumentalsound zu zermörsen, um seine 'westliche' und laptopelitäre 
Hightech-Muszak orientalisch zu würzen, zeugt für Slavins Sinn für Paradoxes. Er scheint aber solche Vexationen zu mögen. Luftaufnahmen von Haifa und der Judäischen Wüste als Illustrationen spielen 
nämlich ebenfalls mit einem Kippeffekt, dem von Blicken aus der Lufthansatouristenklasse und von den Satellitenphotos, die Raketenziele kartografieren. Wenn der Strand von Tel Aviv verlassen daliegt, 
dann nur wegen dem schlechen Wetter ? Slavins Klangbänder sind zithrig, zittrig, stottrig mäandernde, perkussiv vertrackte Projektionsfolien für gemischte Gefühle und gleichzeitig ein Postulat, 
mehr zu mischen - etwa zu einer Oriental Abstract Spiritual Music.


04.2007 Basebog
Fin dai suoi primi lavori Ran Slavin era intensamente legato alla sua terra. Memorabile il suo contributo nel corale 'Walking In Jerusalem' di Random Inc/Sebastian Meissner insieme ad Electric Birds e 
Tim Hecker per Mille Plateux. E ancor più nell'edizione sperimentale sempre di Mille Plateux delle raccolte di 'Intifada Offspring' insieme ad altri artisti israeliani. Ran Slavin è un artista contemporaneo 
che lavora e sperimenta con il suono, grazie al quale ricrea scenari di alterazione di notevole intensità e originalità. Il materiale alla base di questo ultimo disco sono le registrazioni di musicisti 
folk strappate ai quartieri dei Territori e combinate con altri suoni 'sincretici' dell'ambiente metropolitano (ambienti e voci). L'autore si è accostato alla chitarra da quattordicenne, mentre ora elabora 
il video e l'audio con patch sviluppate da lui stesso. Tutto digitale quindi, fatta eccezione per l'intervento dello strano strumento detto Bulbultarang, interpretato da Ahura Ozerri.
‘Hagalil’ è una traccia di loop e piccoli intarsi. 'Village' e 'Jericho 6AM' seguono il discorso elaborato da una chitarra accelerata, mentre altre corde si intrecciano in una fitta tessitura. 
Altrove, come in 'Wayward initial' è un basso pesante e profondo a scatenare il lirismo emotivo. Ran Slavin ha il merito di essere grezzo ed elegante al tempo stesso: la manipolazione esprime un'estetica 
originalissima e si produce anche dalla scelta di campioni ambientali sporchi (o sporcati) con gusto personale. Sono forse sogni, riverberati, che riportano l'eco di melodie rese familiari al lontano mondo 
urbano grazie agli artifici di un abile distorsore. Batteria irregolare ma originale in 'Shelters and Peace' e 'Silence', dove il ritmo è somministrato senza pudori. E' forse nel 'Kiosk in Furadis' che una 
filastrocca con solista e coro femminili diventa quasi dnb. Tanti interventi di voci che mutano timbro, cantano talvolta sommessamente, e si accalcano o dilatano. Ne risulta un blues confuso, una babele 
piena di eccezioni.
Il concept dell'album è forte a monte e i suoni sembrano voler rappresentare uno spazio fisico già riprodotto nelle vedute aeree del pack. Per questo il paragone con musicisti della stessa senbilità 
(Philip Jeck and Janek Schaefer per primi) rende un'idea di massima ma non esaurisce l'ampio discorso di Ran Slavin. In un'intervista, definisce lo stile di questo suo disco 'oriental abstract 
spiritual music'. Sempre quest'anno Mille Plateux gli ha pubblicato la terza versione del progetto inizialmente commissionato dalla Biennale di Venezia '04 “Insomniac City”. Si tratta di una meditazione 
sulle conseguenze estreme della vita urbana contemporanea ed è disponibile come doppio dvd PAL-NTSC e come CD con la colonna sonora. "The Wayward Regional Transmissions" ricorda nel nome le tracce da 
'radio pirata' pubblicate dall'autore nel 2002, ed esprime la naturale evoluzione di una preziosa sensibilità artistica: elettronica da esplorazione, bella, dentro il presente e pure intelligente.


04.2007 Bodyspace
O glitch revela-se por meio das mais misteriosas formas. Como expressão incidente no aproveitamento da anomalia, varia conforme os tempos e ameaça não acusar desgaste enquanto forem questionáveis os dogmas 
de um corpo sonoro puro e primo. Ran Slavin, em meditação sobre o território de Médio Oriente que abrange a sua pátria Israelita, parece bem ciente dos múltiplos atributos de que se pode valer o glitch se 
for seu propósito reter cerebralmente a atenção enquanto lhe é servida um conjunto de paisagens, cenários virtuais e argumentos alegorizados. Não se julgue com isso que The Wayward Regional Transmissions 
envereda pela mais traiçoeira via panfletária ou explicitamente política - Ran Slavin tem na manga propósitos muito mais dignificantes e elaborados para a teia que tece a partir do imponente glitch, 
guitarra e acrescentes étnicos conferidos pela Bulbultarang (uma espécie de banjo indiano), Ud (instrumento de cordas egípcio) e samples de pop regionalmente típica (em “Kiosk in Furadis”).
Antes de serem revelados os tais propósitos, importa primeiro citar Bom filho a casa torna como um dizer que se aplica na perfeição ao sentido protector que leva a portuense Crónica a manter por perto os 
estetas mais cativantes integrados no seu catálogo. Depois do convite para integrar o segundo tomo da série Product, Tropical Agent / Ears in Water, Ran Slavin regressa à label de Miguel Carvalhais com este 
The Wayward Regional Transmissions, numa altura em que atravessa inspiradíssimo período na sua já longa e multifacetada carreira, ou assim o demonstra o soberbo disco de perdição Insomniac City, editado 
o ano passado pela Mille Plateaux e que ainda não deixou de revelar câmaras ocultas desde aí.
Sem mais demoras, enumerem-se as peculiaridades que fazem do glitch de Ran Slavin o código de cuja a assimilação se depende para ler ou se perder no mapa formado por The Wayward Regional Transmissions. 
Dificilmente se acredita encontrando-o assim, apenas escrito, mas é possível simular a sensação de pesado jet lag a partir do glitch - tornando-o insoluvelmente denso e subterfluente, aplicando-o à corrosão 
da guitarra e outras frequências mais lineares de modo a que sobra apenas a estranheza. Ran Slavin recebe-nos de um modo calorosamente étnico (com a manipulação dos instrumentos acima citados) e depois 
espera que, de olhos vendados por um glitch críptico, consigamos regressar até um ponto seguro. Com a agravante de neste seu último trabalho, tal como já acontecia em Insomniac City, a tendência seja por 
alongar-se além do esperado, talvez como forma de fazer com que se sinta ainda mais perdido e privado de piso firme quem der por si tão distante do início como do fim da faixa.
Mesmo assim, não podia esta resenha terminar sem mencionar a imensurável obrada deixada por Muslimgauze (Bryn Jones, falecido em 1999), que será muito provavelmente dos mais inestimáveis reaproveitadores da 
inspiração oferecida musicalmente pelo Médio Oriente – ele que apoiava incondicionalmente a causa Palestiniana e procurava arrastar o brio dessa até aos seus mil e um discos (é literal a afirmação). 
Embora se encontrem em lados opostos da barricada, Muslimgauze e Ran Slavin trabalham o apelo étnico da conturbada zona de forma equivalentemente apaixonante. Muslimgauze convida a percorrer fantasiosamente 
as ruas e a contactar de perto com elas (quando ele, em vida, nunca o fez), Ran slavin propõe a que as observemos desde que filtradas pela sua vontade alquímica. The Wayward Regional Transmissions é uma 
bússola que se pretende desregulada. Por pura coincidência ou não, representa, ao lado de The Temple Bell de Old Jerusalem, um dos grandes lançamentos deste ano a conhecer carimbo de uma casa cá do burgo.
Miguel Arsénio


05.2007 Foutraque
Les débats politiques aidant, ces dernières semaines ont vu apparaître une nouvelle tendance que l’on pensait appartenir à un temps révolu : celle du nationalisme, du repli sur soi et du conformisme. 
Fort heureusement pour nous (amateurs avertis de musique que nous sommes), ces notions nous semblent abstraites et désuètes car l’une des grandes qualités de la musique est son métissage, sa capacité à se 
confronter à de multiples courants et à se recycler sans cesse pour créer de nouveaux espaces sonores. C’est dans cet état d’esprit que s’inscrit la dernière oeuvre de Ran Slavin. 
Originaire de Tel Aviv, Ran Slavin est un artiste protéiforme, tout à la fois artiste vidéaste, cinéaste et musicien. Avec son dernier projet, The Wayward Regional Transmissions, 
il explore une nouvelle voie : celle de la confrontation entre musiques traditionnelles orientales et électroniques par le biais d’accidents numériques ou d’ajouts de gimmicks aléatoires. 
Uniques et sensorielles, les structures du compositeur israélien s’apparentent à d’immenses paysages souvent désertiques où les collaborations croisées de Ahura Ozerri (Bulbultarang - instrument à cordes 
venant d’Inde) et de Moshe Eliaha (Oud) servent de trames de fond, sur lesquelles viennent s’ajouter par couches ou par ruptures des éléments électroniques disparates. Le tout forme un mélange foisonnant 
et méditatif, une musique en aucune autre pareille, une musique du futur toute empreinte de passé, une musique sans frontières, une musique libre de tout carcan où l’auditeur surpris puis émerveillé se 
laisse porter vers ces paysages sonores abstraits. L’une des meilleures découvertes du moment.
Dr. Bou


05.2007 De:Bug
In der Welt des digital-arabischen Stakkatodrones ist Slavin nach wie vor ungeschlagen. Das demonstriert diese CD in höchst komplex variabler Form erneut mehr als deutlich. Musik die sich gelegentlich anhört
wie Oval aus Jericho, oder Glitch für Marrakesch. Ich bin jedenfalls vom ersten Track an völlig eingenommen. Perfekt um sich einen völlig eigenen Horizont der Welt zu bauen.


03.2007 DMute
En compagnie d’Ahuva Ozeri, joueuse de bulbul tarang (autrement appelé banjo indien), et du oudiste Moshe Eliahu, Ran Slavin rêve de mettre à Tel Aviv la main sur une musique syncrétique, reflet d’un monde 
que l’on survole, quiet, quitte à parfois se faire rattraper par la réalité crasse de télescopages faisant partie des risques.
Parti au son mesuré de cordes répétitives déposées sur la toile d’une électronica minimaliste (Village), Slavin dérive d'abord au gré d’inspirations sûres: combinaisons de structures rythmiques minuscules 
et d’une guitare progressant sous réverbération (Wayward Initial) ou mélodies lointaines espérant se faire une place parmi les boucles bancales et les graves distribués à distance régulière sur Jericho 6AM.
Mais, trop assuré peut être, le voici abandonnant son folklore inventé pour le troquer, qui plus est, contre une ambient sans charme (Silence) et ultra-naïve (DAT Beats). Remis de sa chute, 
il réussit à faire demi-tour et retrouve sur Hagalil les rivages sûrs décrits en ouverture de The Wayward Regional Transmissions, album recevable que le brouillage radio passager aura bien failli perdre.
Grisli


04.2007 Comunicazione Interna
Ran Slavin è un artista multimediale israeliano con già alle spalle un’esperienza ventennale nei campi della musica digitale, delle installazioni sonore, della video art e del cinema sperimentale. 
Realizza adesso per la portoghese Crónica uno splendido disco nel quale tessiture elettroniche minimali assorbono note di strumenti acustici ed aromi etnici lungo percorsi geografici/immaginifici che 
dall’India conducono al Maghreb attraversando tutto il Medio-Oriente: le corde vibranti del bulbultarang (“Village”), glitches ribollenti (“Wayward initial”), note di ud disciolte in polvere desertica 
(“Jericho 6AM”), opacità e riverberi acquatici (“Shelters and peace”), voci tagliate e inoculate in plumbei suoni frastagliati (“DAT beats”), graffi su sottili membrane in tensione (The silente”), 
vita di strada e dolci melodie femminili (“kiosk in Furadis”), ultimi bagliori d’Oriente (“Hagalil”). Senz’alcun dubbio uno dei lavori più interessanti ascoltati in area elettronica da diversi 
mesi a questa parte.
Guido Gambacorta


04.2007 Loop.cl
Tel Aviv’s based sound and visual artist Ran Slavin delivers his fourth release on Portugal’s Crónica Electronica label and nineteenth since he started his musical career 20 years ago amongst albums, 
splits, and compilations appearances on labels such as Mille Plateaux, Subrosa. He also has remarkable video production, directing several music videos and composing music for choreographers and dance 
ensembles. 
Slavin’s approach in this album is the Oriental Middle Easter music and his digital sound textures, glitches and field recordings.
The electric guitar soundscapes on ‘Village’ are accompanied by Ahura Ozeri’s collaboration on Bulbultarang [an Indian instrument] as on ‘Wayward Initial’ alongwith some organic animal noises like, 
concrete sounds, and emerging a half melody. On ‘Jericho’ there is collaboration from Moshe Eliahu playing the Ud [and Arab instrument similar to the lute]. As a backdrop digitally processed Ud’s chords, 
clicks and unidentifiable noises are interweaving. A minimal beat is the rhythmic approach for ‘Shelters and Peace’, a title that might describe the surroundings in that zone and a desire and the same time.
The pulsing beat is hypnotic and recalls midst 90’s minimal techno but subtlety placed in the background. On ‘DAT beats’ there are stuttering voices, percussions and maybe it’s the more improvised piece in
the whole album. Again on ‘The Silence’ the Middle Easter music vein with Ozeri’s on Bulbultarang creates an intense atmosphere that almost feels like dangerous perhaps through the dark voices. 
On ‘Kiosk in Furadia’ the juxtaposition of field recordings made out of female chants combine perfectly with dance beats like. Finally, ‘Hagalil’ delivers melodic Bulbultarang lines which are like spirals 
that blend different cultures.
Guillermo Escudero


05.2007 Rock&Pop
Izraelský hudebník a filmař Ran Slavin to má s inspirací jednoduché. Multikulturní vroucí kotlík rodné země na pomezí východu a západu v sobě promíchává takové množství rozdílných substancí tradic, 
že stačí být vnímavý a pouze našpicovat ucho a zaostřit oko. Slavin si je této přednosti vědom a na své nové desce The Wayward Regional Transmissions připravil jedinečnou mnohakulturní melanž. 
Západní proud tu zastupuje abstraktní, glitchemi prodchnutá elektronika, do níž z východu vstupují dlouhé monotónní vyhrávky drnkacích nástrojů. Některé pouze tušené v podkresu v podobě pokroucených samplů,
jiné naopak určující ráz kompozic zcela zásadně. Prominentní postavení zde má indický strunný nástroj bulbultarang v rukou legendární, téměř šedesátileté libanonsko-izraelské Ahury Ozeri. 
Výsledkem je elektroakustická koláž se silnou atmosférou, kterou Slavin příznačně nazývá Oriental Abstract Spiritual Music. Zvuková pastva pro ty, kteří mají chuť poslouchat.
Pavel Zelinka


05.2007 Vital Weekly
The first time we got introduced to the music of Ran Slavin was on his 'Product 02' CD release for the very same label that now releases 'The Wayward Regional Transmissions'. 
Slavin hails from Israel, where he produces digital music, experimental cinema and video art. On his latest CD he approaches 'Oriental Middle Eastern Music with Abstract Glitch' and to this end he uses 
in some pieces the BulbulTarang, a three steel string Indian instrument played by Ahuva Ozeri, who was the first female star of Mizrahit music. Another piece uses the Ud, played by Moshe Eliahu. 
It may seem an odd mixture at work here, but in fact the opposite is true. The minimal patterns played on the traditional instruments mingle quite nicely with the electronic music of Slavin, 
which is not always glitch like. He employs rhythm through rhythm machines, which he processes by digital means. Of course the hotbed of cracks, hiss, static and such like is present, to make sure that 
this is the world of glitch.
There is however something quite warm about this CD, almost like a lazy tropical afternoon, such as in 'Jericho 6AM' (although the title suggest a different time). The music is not unlike that of Thilges, 
who have been working on this kind of merging of western digital techniques and middle eastern instruments. This CD fits quite nice the Cronica label, who have been before bringing special themes to 
the world of glitch and not being an ordinary label for ordinary glitch. Slavin's disc works with traditional approaches, both in computer music and in oriental music but the combination thereof is quite 
new. Very nice work.
FdW
 
 
05.2007 Textura
Listening to Tel Aviv artist Ran Slavin's The Wayward Regional Transmissions, one inevitably is reminded of Sebastian Meissner's Random Inc. recordings Jerusalem: Tales Outside The Framework Of Orthodoxy 
(Ritornell, 2001) and Walking In Jerusalem (Mille Plateaux, 2002) (Slavin, whose CD-DVD release Insomniac City appeared on the resurrected Mille Plateaux last year, guests on Walking In Jerusalem and joined 
Meissner on Sub Rosa's Into The Void, also 2006). Like his colleague, Slavin uses digital tools to reconfigure radically the acoustic sounds of Middle Eastern music and its traditional folk materials. 
Given the wholly mediated character of the average Westerner's experience of the region, The Wayward Regional Transmissions comes across like a hyperreal travelogue through the Middle East with Slavin 
as one's personal Baudrillardian guide.
A lamentation played by Ahuva Ozeri on her three-steel string Indian instrument, the BulbulTarang, is heard in rather unaltered form on the opener “Village,” while Moshe Eliahu plays the Ud on “Jericho 6AM,”
a ten-minute soundscape of remarkably evocative character. Drenched in textures of crackle and glitch, string instruments and humming bass tones drift throughout its dense mix slowly, suggesting a city 
opening its collective eyes to a new day. Each piece offers a different experience: “Kiosk in Furadis” teems with jubilant singing and dizzying rhythms, shuddering guitar patterns in “Shelters and Peace” 
liken it to a Klimek homage; and “Hagalil” closes the album in an hypnotic swirl of silken guitar loops. Throughout the fifty-minute collection, Slavin liberally shapes his material, highlighting its 
geographic associations at one moment and downplaying them the next. Perhaps the work's most captivating aspect is its omnipresent tension between the rooted character of the Middle Eastern sounds 
and the nomadic quality the electronic strategies bring to bear upon the material.
 
 
 


Insomniac City




http://www.mithly.com

It’s hard to put a tag on an album when virtually all ten tracks lack rhythm or a basic beat. In fact, the tracks are better described as a collection 
of sounds – each track emitting a strong sensual impression – often times visual, when one associates each collection of sounds with its title. 
The original pack is sold with a light installation DVD – it’s a modern art package. Ran Slavin’s masterpiece takes electronic ambience to dangerously dark and mysterious levels. 
Expect unusual guitar applications, and a synthesis of sound that leaves you with both a calm and psychedelic feeling – this is particularly the case with tracks 
like In From and Unfold-able Events of Double Natures. It’s hard to say what sort of listening environment would be suitable. The album worked wonders on a long-haul red-eye flight. 
I would expect it to be a soundtrack to a damp, empty street in a bustling city after midnight – but that’s just my opinion. Regardless of its associations, as an ambient piece Insomniac City 
does more than what it says on the tin.
Reviewed by Akhnaton -- Rating 5/5 (4 points for quality, and 1 for moxy!)


Insomniac City, Cinematheque Jerusalem

Sunday night, Jerusalem cinematheque.
As the blue light dims over he valley of Ben Hinom, we slowly step out of the terrace and enter the dark hall of the Jerusalem cinematheque. Slavin's
total masterpiece raps us instinctively. Insomniac City, a 37-minute long experimental video work was created completely by Slavin's own masterful
hands (photography, editing, production and soundtrack). This is one of most intriguing experimental, non-documentary works, which were done here
lately.

Insomniac City portrays the fragmented city, with the sum of all its components, as a disturbed, restless, state of being. The city is a crawling
brain, with self-inflicted hallucinations, portraying all the information it generates as a violent monster-like architecture of bodies, machines and
buildings. 

Slavin presents the city as a complex living organism, which reinvents itself all the time creating a solid, intricate choreography in the
metropolitan scenery. This choreography is a deep investigation into the minds and souls of the people living here and the layers hidden underneath
the white plaster and electric the wiring of its buildings. Slavin's camera maneuvers around, exposing the city's exposed fabric of supply and demand,
its growing alienation and search of the inner self and encounters faceless demons in the dead fields of the public panorama. Slavin shows us that
brutality is part of human nature, oppression is entailed in the constructions he makes to protect himself from it and the desire to penetrate through
the familiar reality is as pornographic as the will for destruction and as religious as the passion for resurrection.

The city is the artificial paradise of mankind, as well as a chaotic hell realizing itself with a scary velocity for those seeking their origin. The
interest lies in the wide spectrum between those extreme attitudes, in the moments where the mind recreates them in varied combinations. 

This is not an unrecognizable futuristic metropolis. Tel aviv is described exactly as it is, with its grandeur and pitifulness, from its high rises
all the way to peep show halls. Its contrasting elements mix and intertwine, reflecting the exciting collage it is in reality. Almost all the shots are
taken in a unique, non conventional way - streets getting slowly flooded, artificial islands in front of the sea shore, bridges connecting roofs of
tall buildings, looking like hyper-technical sculptures. All these happen in a lyric tenderness, growing into an intense violence, in an ecstatic
rhythm, so that even the crushing of several well known high rises, seems harmonic and unavoidable, as part of the natural development of the city
motion. 

The presence of the human, who is passing down the halls of an unanimous hotel, sets the tone for the identity of the rich, futuristic urban fabric
surrounding it. This forbidden investigation beyond the limits of the familiar, presents Tel Aviv as an organic feature, which is continuously
evolving from within itself and human life in it as a constant state of dispute and reconstruction of emotions and senses.
Jack Faber, Kol-Ha-ir, Jerusalem 


A review at the Israeli Portal for Music:
http://www.qube.co.il


Ran Slavin - Insomniac City - (Mille Plateaux) www.almostcool.org

On his ambitious debut for the newly reformed Mille Plateaux label (yay to that!), Israeli audiovisual artist Ran Slavin (who has worked with 
Random Inc's Sebastian Meissner) has created both a visual and audio world that seems intent on blurring the line between real life and a dream state. 
Packaged in a deluxe dual region DVD/CD format, Insomniac City creates a gauzy world of slight unease where you never quite know what's lurking around the next corner.
Musically, his influences are familiar, and if you've heard anything on the Mille Plateaux label (where he has released tracks as part of the Clicks and Cuts series), 
this work won't come as any big surprise, but like his video work, it pulls you in with its subtlety. Most of the pieces contain minimal guitar work of some sort,
but it's what Slavin does with all the layers around that instrument that really make the difference. "Free Fall" opens with oddly-tuned notes and field recordings 
of a light rain before quivering into a downcast piece of repeated guitar phrases and ringing filtered tones that eventually overtake the main melody.
"Dusk And Dust" is another standout, as an ascending guitar melody builds into a heavily reverbed wash that's eventually swallowed up and turns into some ringing
hand percussion before coming back for a reprise. Like the rest of the tracks on the disc, it moves with an almost hallucinatory edge, with parts of the track turned 
over completely by a heavy dose of overtones or some other gradual pulse of sound. On both "Midnight Cargo" and "Planes And Violins," Slavin drops some string samples 
into a heavily-crackled mix, resulting in something that sounds vaguely like Tim Hecker's work from the Haunt Me, Haunt Me, Do It Again era crossed with a bit of Gas.
Oh, and he even pushes into a bit of power guitar ambience on the fittingly-titled "Guitar Epic," and his dense washes of sound and barely contained squalls of feedback 
should give any fan of Fennesz a bit of an ear tickle. Although a couple of his longer pieces outstay their welcome a bit, this is a disc for soaking in, and at ten tracks 
and over seventy-seven minutes it's good for that.
As mentioned above, the DVD portion of Insomniac City is a subtle, strange trip. Slavin filmed the piece in Tel Aviv and with some sparse narration and weird post-production 
effects, he turns the city into a eerie, alive mechanical being. Buildings (and pieces of them) move up and out of the ground (and sea) and tilt precipitously as the film 
follows a non-linear arc of the narrator trying to figure out if he's dreaming or not and whether he has been shot or not. It's a bit slow-moving, but strangely absorbing, 
and at only forty minutes, is well worth checking out and a nice companion to the excellent album.
http://www.almostcool.org



Ran Slavin - Insomniac City - Mille Plateaux, 2006    www.tinymixtapes.com

The fight between sound and vision continues. Ran Slavin, an Israeli musician/director/roustabout, delivers Insomniac City to an audience unsure how to interpret the music and the film. 
Both are beautiful; both are tragic; both are indescribable. The film can't sit still, mirroring the atmosphere and the confusion of modern-day Tel Aviv (the setting of the film). 
The music, however, refuses to reflect the uneasiness of pain, confusion, and terror. The film tells one story, while the music tells another. Taking the film at face value, it's a visual treat. 
It's chaotic in its pursuit in combining the reality of death with the fantasy of dying. Slavin's soundtrack, however, accomplishes none of these, it focuses on the most abstract with little 
shift in mood. More like a soundtrack to a twisted modern-day Western than that of the fractured story of his film, the combination of the two fails to deliver one big bang. Watch the film on mute. 
Play the CD at night on a long drive home. Together, Slavin's works are as much as a match as Barry Goldwater and Jack Kennedy. Separately, each has the passion and intrigue of double agents in love.
reviewer: jspicer
www.tinymixtapes.com



Ran Slavin - Insomniac City - Mille Plateaux, 2006   www.digitalisindustries.com

Insomnia, an abnormal condition, here becomes the privileged perspective from which the the character of the city is mirrored in bewildering clarity. 
Much as the insomniac is haunted by fragmented events, with its emphasis on a circulation of networks, the city itself rarely sleeps, and appears as a space shattered 
by a neutron bomb. Events are shorn of historical value, nip at each others heels, cancel each other out, and often only foster a sense of immobilism, mystification, and nausea.
A forty-minute film and a seventy-minute disc of glitch ambience are the mediums through which the Israeli artist Ran Slavin conveys this social commentary. To his credit, both the 
film and the cd are able to stand on their own legs. The former utilizes a nonlinear series of events to tell a story of a man trying to grasp how it came to pass that he was shot 
in an underground car park. Scenes of modern architecture are copied, altered, and pasted together with a variety of artificial environments, a transfusion which proves telling of how 
reality and cinema are both dying at the hands of each other. The film is ruthless in its succession of images. Coupled with the utter lack of continuity, the line separating actor 
and spectator is gradually erased, and only a total immersion is left, one in which the images presented become all the more troubling in their familiarity. 
The downside of the film is that it relies too much on spectacle, and ultimately comes off as rather banal in many places as a result. The presentation of the monstrosity of the urban 
landscape, and the way in which all people and events are orchestrated by information networks is meant to communicate Slavin's message, but seeing as how these are well-worn archetypes, 
they end up only dulling the effect of this picture. 
The album is filled with the same eerie ambience, but is less scatterbrained. Slavin drops juddering basslines or buzzing guitar melodies into each tracks dense bee's nest of plastic 
sinewaves and digital refuse and watches to see how long they can last. Not long it turns out, as each warbling guitar figure is either overtaken by the unstoppable movement of short-wave 
signals and rubberized tones or their textures are subtly modified so that they blend into the cracked electronics and granular pulses. Every now and again, Slavin throws in a track of 
lashing noise, but even then, there is little diversity here in terms of mood or arrangement. That said, the fact that these works have grown out of a clear theme seems to have given 
them a layer of depth not always seen in an album - and the vigor with which Slavin approaches these decaying assemblages of sound gives them an undeniable bite.
reviewer: Max Schaefer
http://www.digitalisindustries.com/



Ran Slavin - Insomniac City - Mille Plateaux, 2006   http://relaz.pl

Wszechstronny muzyk, reżyser, kamerysta, spec od wizualnych performensów - te wszystkie określenia dotyczą Rana Slavina. Ten urodzony w 1967 roku w Jeruzalem Izraelczyk przez pierwsze dwadzieścia lat życia 
podróżował po całym świecie. Przez trzy lata (1975-1978) mieszkał on w San Francisco, jak i w Londynie (1983-1986). Ran miał swój roczny epizod również w Singapurze, do którego przybył w wieku 18 lat. 
W tym czasie został on też basistą londyńskiego zespołu The Pleasure Splinters. W latach 1986-1990 Slavin studiował w Akademii Sztuk Pięknych Betsalel w Jeruzalem, by następnie przenieść się na stałe do 
Tel Avivu. Zaczął on brać również udział w lokalnych zespołach pełniąc rolę gitarzysty lub wokalisty. Od roku 1990 zaczął on pokazywać swoje projekty wizualne w różnych zakątkach Izraela. Jednak wydarzeniem 
przełomowym w jego karierze była pierwsze część projektu "Insomniac City", która ukazała się w roku 2004. To dzięki temu trzyczęściowemu dziełu Ran zaczął być zapraszany do różnych zakątków świata (Włochy, 
Turcja, Francja, Holandia, Niemcy, Wielka Brytania, Słowenia, Ukraina , USA). Slavin zaczął być kojarzony z eksperymentalnym kinem, łączącym analogowe i cyfrowe dźwięki tworząc audiowizualne performensy. 
Jego obrazową pracę określa się jako głęboki surrealizm współczesnej metropolii. Natomiast jego muzyczne twory powstają z nagromadzenia się przetworzonych, żywych barw instrumentów, niekształtnych brzmień 
i sączących się sonicznych panoram. Twórczość Rana zaciera różnicę pomiędzy teraźniejszością a przyszłością, dokumentem a fikcją i przestawia hybrydę poruszających się w ciągłym ruchu tworzących się 
alternatywnych scenariuszy oraz stanów świadomości.
Niemiecka wytwórnia Mille Plateaux postanowiła wydać trzecią część "Insomniac City" - kinopodobnego projektu, w którym każdy element samoczynnie rozwija się zgodnie z jej możliwościami i przeznaczeniem. 
To audiowizualne przedsięwzięcie Ran realizował w latach 2004-2006 w Tel Avivie. Trzecią część "Insomniac City" zatytułował "Czy to rzeczywistość, czy to sen?" ("Is it real or a dream?"), by wyrazić swoją 
próbę odpowiedzi na bycie częścią bardzo złożonego, zróżnicowanego i anonimowego współczesnego świata. Płyta DVD zawiera czterdziestominutowy film, zbioru niepowiązanych z sobą fragmentów obejmujących dzień 
i noc miasta Tel Aviv splecionych ze sobą w wieloznacznym wyrazie pojmowania rzeczywistości, chaotycznych obserwacji, lawirując pomiędzy psychicznymi a mentalnymi stanami świadomości, między poznanym światem 
realnym, a halucynacjami. Slavin w formie przekazu oscyluję pomiędzy kinematografią a science fiction. Obok płyty DVD w zestawie "Insomniac City" znajduje się również krążek CD, na którym znajduje się 
dziesięć kompozycji tworzących muzyczne tło tego projektu.
http://relaz.pl/



Ran Slavin - Insomanic City (Mille Plateaux) Beam me up

Es ist egal welcher Weg bei Schlaflo- sigkeit beschritten wird, der zum Khlschrank oder der durch die menschen leere Stadt. Wie ein verzerrter 
Blick durch ein Vergrerungsglas ins eigene ich, wachsen die Gedanken in die- ser Zeit ins Unendliche. Kaum jemand hat diesen Zustand spannender reflek
tiert als Ran Slavin in "Insomaniac City". Zum einen heißt so ein 40min tiger Film, zum anderen ein knapp 80minütiges Album. Tel Aviv steht hier als 
Symbol für die Stadt, die ein Eigenleben frt. Eine Welt die sich vom restlichen Land abspaltet, in welcher der Protagonist, der traumatisierte Mensch, 
auf der Suche nach Antwoten ist: Bin ich tot? Habe ich gemordet? Fragen, die so universell man sie auch verstehen möchte, bei einem Israelischen Künstler 
Politisches aufwerfen. Visuell bewegt man sich mit Slavin in Kriminalfilm typischen Tiefgaragen und hyperrealistischen, bis ins surreale 
gemorphte Stadtlandschaften; musikalisch auf einem Weg durch geheimnis volle Soundscapes aus dichter minimal electronic, sanften Gitarren oder 
Streichern, die ihren Platz im Hintergrund eingenommen haben. (mj) 
Beam me up.


Insomniac City, http://www.intro.de

Schlaflos in Tel Aviv, verloren im Häusermeer und im Niemandsland zwischen Erschöpfung und Wahn. Der israelische Medienkünstler Ran Slavin generiert in seinen 
Werken einen nie wirklich greifbar werdenden Dauerzustand der Verunsicherung und Entrückung. “Insomniac City” begreift er als ein ständig im Entstehen und sich 
Verändern begriffenes Kunstwerk, dessen nun auf Mille Plateaux vorgelegter Zwischenstand aus einem 40-minütigen Film und dem Soundtrack dazu besteht. 
Die filmische Erzählung von “Insomniac City” bedient sich vage bei Thriller-Motiven. Die Hauptrolle spielt die Stadt selbst, gezeigt durch den Blickwinkel 
eines Mannes, der in seinem Nichtwissen verbrennt, ob er tot ist oder selbst jemanden umgebracht hat. 
Beengende, durch Verzerrung getrübte Bilder lassen ein unentwirrbares Durcheinander von Erinnerungen, Bildfetzen und Halluzinationen entstehen: Die gesamte 
Stadt bewegt sich da, wo sie gar nicht sollte, ganze Viertel verschieben sich, Hochhäuser dehnen und neigen sich, platzen auseinander, ein geisterhafter neuer 
Stadtteil auf dem Meer wird im entrückten Zustand des Protagonisten dazugedichtet. Tel Aviv erscheint als eine Phantomstadt, als kranker, seltsam wuchernder 
Organismus, in dem das Gefühl von Gewissheit vor langer Zeit abgestorben ist. In Klang gefasst, bedeutet das ein konstantes Dröhnen und Rauschen, ein ineinander 
Verschwinden von aufgenommenen und verfremdeten Geräuschkulissen und dem Flirren von Gitarre, Klavier, Feedback. So entwirft Ran Slavin zu seinen Bildern einen 
mbient-Soundtrack extremer Anspannung, der auf der beiliegenden CD über 76 Minuten gespannt wird. Auch ohne die rätselhaften Filmvisionen ein wunderbar 
funktionierendes Stück Musik. 
http://www.intro.de



City in Motion - Sleeplessness reaches the big screen, by Yonatan Amir 

The sum of all of Insomniac Citys elements could have easily been transferred into a typical American thriller. There is a gun, there is a
body, there is a night drive through the empty streets of a city and there is a naked woman in a hotel room. There is a plot and there
is a script. There are a lot of hints and small innuendoes of New York, and even 9/11 is mentioned, as two twin high rises crash, while the
main character mumbles to himself “Is it real or a dream?". If Insomniac City wasn’t the thought provoking film that it is, it might
have easily been presented as a thriller for adults.

This isnt the first time Ran slavin, the artist, deals with surreal urban materials. His former film 'Organic Urbanic' also took
place in the streets of Tel Aviv, and was also made with many digital manipulations. In Insomniac City, Slavin takes another step forward and creates
a video art which is an entire film that also includes actors and a plot, on top of the video and the soundtrack. The movie portrays its name well,
being a film taking place in Tel Aviv and telling the story of a character who was shot and is now in a state of insomnia. The film evolves around the
camera, which represents the instability of the character, through a fragmented array of surreal scenes. In these scenes, the character tries to
understand how he has reached his present state of being – a body laying outside a car in a deserted underground parking lot. This sort of
reminds us of 'Memento', but unlike Memento, where confusion is under control thanks to virtuosi editing, in Insomniac City,
it is the mess which leads the story. It is all about the blurring of things, not their deleting.

Most of the shots are taken from unbalanced angles. Some of them are low, taken in the underground parking lot or under water, while others are high
and taken from roof tops and towers, or from satellite photographs. The few shots which are taken at eye level or from the ground, are unstable,
jumpy and blurry. As a whole, it seems like Slavin did not miss any opportunity for a video manipulation to portray the character’s confused
state of being. It begins with the photography, which is done by a set of more or less conventional lenses. Then, the image processing and the video
editing that can make the buildings dance and the waves move backwards. To top it all off, Slavin creates a unique color scheme, blurs the soundtrack
and makes the character’s sentences sound like mumbling. They too, like his face, come out very confused. 
Both movies will screened on Wednesday at Uganda.
Highly recommended hardcore.
Yonatan Amir, Kol-Hair, Jerusalem 23.9.05



Insomniac City, Venice Biennial of Architecture, Israeli Pavilion


Right at the entrance, a wall video presents the best video Insomniac City (dvd loop, 27 minutes) by the artist Ran Slavin. It's an unbelievable
experimental audio visual report in which the use of graphic tricks, colors and sounds create and show a virtual and oneiric future reality together
with the modern reality of Tel Aviv. The film seems to aim at recreation of a contemporary urban space (the real city and the imaginary one) in
between reality and utopia, seen from the above position. The spectator is reveled by the predominant colors of the objects distorted by the
videografic, bright gray and violet mainly for the obsessive and strong sound design, and the atmosphere, originated from "reality, radical
architecture, dreams, present, future, artificial islands" as some critics say.
www.cultframe.com


Did I die? Did I kill?... такими словами начинается последняя работа аудио-дизайнера и музыканта Рана Славина на возрожденном Mille Plateaux records 19 июня 2006 года.
Insomniac City - это психоделический экспириенс в мир несуществующих, но притягательных иллюзий того, что прячется где-то в лабиринтах гигантского мегаполиса. Город страдающего 
бессонницей - многосюжетная линия, в которой фигурируют безумные изменения с человеком и окружающей его городской реальностью. Здесь представлены все возможные варианты, 
произошедшие и происходящие с главным героем, пытающимся понять эти изменения.
Все сюжеты проходят через тему города - съемки в Тель-Авиве сделаны самим автором + помощь его друзей. Иногда камера переходит с улиц под воду, и начинаются подводные съемки. 
Потерянный человек потерялся в потерянных пространствах потерянного города. Скорее всего, это предполагаемая сюжетная линия развития всего фильма. Саундтреком к фильму служит одна 
из самых отъехавших, пересекших понятие разума звуковых дорожек, абсолютно не с чем сравнить. Разве что, иногда, до такого безумия доходили звуковые работы легендарного английского коллектива Hafler Trio, 
но и это было достаточно давно. Частые смены тональностей, нойзовые перебивки, порезанные на микро-кусочки фрагменты игры музыкальных инструментов и голосов.

Музыка на альбоме чем-то близка по экспериментам с творчеством Jan Jelinek и его последней работой Kosmischer pitch, где такой же арсенал инструментов играет, как микро-оркестр, 
причем, в качестве основных инструментов для звуковой фантасмагории идут не сэмплеры и программы, а принципиально акустические инструменты. Электронная музыка начинает движение в 
сторону акустического звука - гитары, сэмплированные духовые, джазовая перкуссия. И все это колоссальным образом живет, дышит, развивается.
Параноидальный сюжет всего фильма Insomniac City в духе работ Кеннета Энгера (странного режиссера, который в свое время повлиял на Дэвида Линча) нагоняет мрачных мыслей в середине 
просмотра - порой кажется, что картинки на экране - это чья-то галлюцинация или сон.
Ощущения от музыки примерно такие же - сошедший с ума безумный дирижер управляет вашим собственным восприятием через чувства, слова, эмоции. Заставляет их проникать в сюжет происходящих 
событий и смотреть на них по-другому.
Возможно, сейчас мало просто записать музыку - иногда стоит подобрать к ней еще и изображение. 
http://www.soundproector.ru



MEISSNER / SLAVIN / SACHS "into the void" CD (Sub Rosa, Belgium, 2006)



ALL MUSIC
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

"In February 2003, Sebastian Meissner (aka Random Inc), Ran Slavin and Eran Sachs visited Krakow, Poland to make some field recordings. 
They focused mostly on the districts of Nowa Huta, an abandoned industrial area, and Kazimiers, the 700-year-old Jewish district of the city decimated 
by the Nazis. No need to say that these locations are rich in historical and cultural heritage. For Into the Void, each artist produced his own work. 
Meissner's "Into the Void" gives the CD its title and deserves it. It is the strongest piece of the set, a true 35-minute "cinema for the ear.
" Using field recordings from Kazimiers (footsteps in the snow and conversations, among many other sounds) and samples of Jewish music or music by Jews 
(Itzhak Perlman playing "Stolen Memories," for instance), Meissner evokes, tells, and reflects on the hardships he found etched in the buildings. 
An acute sense of spatial composition and narrative structure the work and draw the listener into a captivating aural tale. "Into the Void" is Meissner's 
most mature and accomplished work to date. In comparison, Ran Slavin's "Segments From the Snow" (30 minutes) is somewhat cold and abstract. 
Slavin chose to focus on Nowa Huta, which translates into a more metallic sound palette and larger, emptier spaces. The human element that makes Meissner's 
piece so attractive and moving is lacking here. "Segments From the Snow" contains a fair amount of interesting twists and clever compositional processes, 
but it covers little new ground. Eran Sachs contributes the two-part, 15-minute "Memory Gaps" marks a return to the Kazimierz district. 
More electronic-sounding than Meissner's concrete music-like piece, "Memory Gaps," despite its clarinet samples, is the work farthest removed from the real-life 
Krakow, yet, paradoxically, it feels more in touch with the human element of the city than Slavin's piece. The clarinet transformations in "Crackle" 
(the second part) are particularly imaginative and gripping."
François Couture
http://www.allmusic.com/


ORF
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

Spurensuche im jüdischen Krakau

"Bereits seit vielen Jahren beschäftigt sich der Multimediakünstler und Musiker Sebastian Meissner mit dem Holocaust, dem Judentum und dem israelisch 
palästinensischen Konflikt, eine Arbeit, die sich in den letzten Jahren in einer Reihe von CD-Veröffentlichungen, Soundinstallationen und vor zwei Jahren 
in dem CD- und DVD-Projekt "Intifada Offspring" manifestierte, zu dem begleitend damals auch eine Internetseite erschienen ist. Ziel von "Intifada Offspring" 
war es eine Plattform zu schaffen, für Künstlerinnen und Künstler aus Israel, Palästina und anderen geographischen Regionen, die ihr Schaffen der Dekonstruktion 
des so genannten Nahostkonfliktes widmen. Meissner hat hier wichtige Pionierarbeit geleistet. 

In der Leere:
Ein Projekt, das bereits im Jahr 2003 stattgefunden hat und von dem nun unlängst auf Sub Rosa eine CD-Dokumentation erschienen ist, ist "Into the Void". 
Die im CD-Titel angesprochene Leere bezieht sich auf jenes Vakuum, das sich angesichts der Wiederbelebung des jüdischen Viertels Kazimierz in Krakau auftut, 
die vornehmlich auf eine ökonomische Nutzbarmachung der Geschichte von Krakaus jüdischer Bevölkerung setzt, ohne sich dabei auch gleichzeitig der nötigen 
Vergangenheitsbewältigung zu stellen, wie Sebastian Meissner kritisiert. 

Der Vergangenheit auf der Spur:
Seinen Ausgangspunkt nahm das Projekt "Into the Void" im Februar 2003. Ausgerüstet mit dem entsprechenden technischen Gerät haben sich Sebastian Meissner und 
die beiden befreundeten israelischen Musiker Ran Slavin und Eran Sachs in Krakau auf Spurensuche begeben, um die Stimmung in dem 700 Jahre alten jüdischen 
Bezirk Kazimierz einzufangen. Slavin verschlug es nach Nova Huta, in die mächtige Wohnstadt am Rande Krakaus, die während der ersten Blütephase des Kommunismus 
für die Arbeiterinnen und Arbeiter der Tadeusz Sendimir Stahlwerke aus dem Boden gestampft worden war. 
Die damals entstandenen Audio- und Videoaufnahmen haben Meissner, Sachs und Slavin schließlich im Zuge einer gemeinsamen Performance im Juni 2003 im Krakauer 
Club Krowoderska 52 und dann später nochmals als vierkanalige Soundinstallation im Zentrum für jüdische Kultur im Rahmen der dreizehnten Ausgabe des Krakauer 
Festivals für jüdische Kultur präsentiert. 

Film für die Ohren:
Die unlängst erschienene CD "Into the Void" basiert auf dem Mitschnitt der Performance im Club Krowoderska 52, wobei die drei Musiker hier nun hintereinander 
auftreten, mit aus den Konzertaufnahmen für das CD Projekt eigens komponierten Stücken, beziehungsweise Audiofilmen. Wie in einem Anflug von Erinnerung scheint 
sich die spürbare Leere am Anfang des Stückes von Sebastian Meissner, das auch gleichzeitig das erste Stück auf der CD ist, langsam aber beständig mit Geschichten
aus der Vergangenheit zu füllen, mit gebrochenen Geschichten, die nur mehr in Fragmenten vorhanden scheinen. 
Als Basismaterial für seine Komposition dienten Meissner neben den aufgenommenen Fieldrecordings unter anderem auch Stücke von diversen jüdischen Musikerinnen 
und Musikern, entnommen dem Archiv des Krakauer Festivals für jüdische Kultur. 
Auch Eran Sachs präsentiert in seinem Beitrag zur CD "Into the Void" traditionelle jüdische Musik im Spiegel der Gegenwart. 

Endlose Weiten:
Ran Slavins Komposition "segments from the snow" lässt demgegenüber an die scheinbar endlosen Weiten der Plattenbausiedlungen in Nova Huta denken und an den 
gescheiterten kommunistischen Traum vom gleichen Wohlstand für alle, der nicht zuletzt ebenfalls auf die Kosten der jüdischen Bevölkerung Polens ging, welcher 
wiederholt nahe gelegt worden war, das Land zu verlassen. 

Wider den Ausverkauf:
Die in Kazimierz dargebotene Kultur dürfe nicht lediglich auf die Geschmäcker und Erwartungen jüdisch amerikanischer Touristen zugeschnitten werden, schreibt 
Ireneusz Socha im Booklet zu der CD "Into the Void". Kazimierz dürfe nicht zu einem jüdischen Themenpark oder zu Krakaus größtem Bierlokal verkommen. 

Stattdessen sollte Kazimierz zu einem Ort der Präsentation für neue jüdische Kunst und Kultur werden, so Socha.
Eine Mahnung, die sich wohl auch noch andere ehemals kommunistische Städte Europas zu Herzen nehmen sollten, man denke etwa an die Wiederbelebung des jüdischen Viertels in Prag. 
[Susanna Niedermayr]
http://www.orf.at/


GAZ-ETA
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

"Kazimierz is a distinct part of Krakow [Poland] where for hundreds of years Jewish culture co-existed with Polish. After the exterminations during World War II, Kazimierz was 
left by the wayside and became a ghost-town of sorts. Three composers came together to re-examine Kazimierz of today. How can an area of town so full of promising cultural events 
geared around the Jewish culture be so devoid of the living Jewish mass? And vice versa, what effect does the absence of Jewish community in Kazimierz have on the events that happened 
to promote the very culture it has lost? Commissioned especially for the 13th Festival of Jewish Culture in Krakow in June of 2003, the album is based on two factors. 
First, there were field recordings the trio collected in Kazimierz, Nowa Huta [a rather ugly, communist industrial area of Krakow] and Brzezinka [Nazi concentration camp]. 
Then there are samples that were used [without permission but with respect] from Frank London, Itzhak Perlman and various archives of Krakow's Jewish Culture Festival. Finally, excerpts of 
interviews made it into the final piece, along with conversations with Eran Sachs and Ran Slavin. To make it clear, each of the artists comes from a different background. 
While Sebastian Meissner is a music composer, sound designer and photographer who has worked in audio-visual medium, Ran Slavin is mainly a film maker as well as an audio-visual artist. 
Eran Sachs works as an improviser, composer and sound-artist, as well as a curator. While collecting source materials for the project, each of the men were in fact preparing for a multi-media 
performance that took place at the Krowoderska52 in June of 2003. This and the sound-sources is what "Into the Void" is based on. At times like these, words simply fail. 
Sure, it would've been nice to be at the performance to get a full aspect of the trio's message. 
.... Ran Slavin's portion "Segments from the Snow" features alien audio forms recorded mostly in Nowa Huta. Its ultra-realistic 
industrial feel spells abandonment right through. Eran Sachs' "Memory Gaps" is even more alien than Slavin's industrial attempts. Taking the cue from industrial music and field recordings, 
his section is full of static, grating industrial-like sounds, metal on metal. Then, on the closing piece "Crackle" he settles down into an orchestral-ambient mode. The piece sounds like t
rickling of rain drops one minute, while moving into laser sounds and unrecognizable modulated synth sounds the next. Ideal finish to a project that shows a progressive side to the Jewish culture 
that has been so vital in the make up of the beautiful [and once again] lively Kazimierz."
[Tom Sekowski]
http://www.gaz-eta.vivo.pl/



FOXY DIGITALIS
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

"First staged in 2003 at the Festival of Jewish Culture in the Polish city of Krakow and now released on CD, “Into the Void” displays the collective sound studies of Sebastian Meissner, 
Ran Slavin and Eran Sachs at the city of Krakow, especially its Kazimierz neighborhood and the industrial site of Nowa Huta.

....Ran Slavin who has recorded on such labels as Mille Plateaux, Cronica and Sub Rosa presents a cohesive 28-minute piece of digital composition. His contribution is actually even more abstract than Meissner´s 
and the images inspiring him to the music remain hidden. There are hints of Klezmer and lots of crackles and hiss. Church bells are heard on the last part of the piece, which is the most sinister, 
but also the most interesting, while the rest of the piece not quite reaches the atmospheric density present in Meissner´s contribution.

Eran Sachs finishes the disc with lots of field recordings and waves of digital debris conceived by altering two traditional Jewish clarinet tunes. You can only hear the clarinet on his second piece which 
is lightyears better than his first one because there are atmospheric changes as well as some development throughout the track. But also Sachs´ pieces can´t compare with Meissner´s, which makes the whole 
disc appeal mostly to those who are interested in the concept of it. The music represented on the CD has some good moments, but also a lot of rather unexciting material."
http://www.foxydigitalis.com/



METAMKINE
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

"´Presence/Absence ::: into the void´ est essentiellement une réflexion musicale sur l'histoire récente et les changements du quartier de Cracovie nommé Kazimierz - cette partie de la ville polonaise était 
le centre de la vie juive depuis 700 ans. Aujourd'hui le quartier est vide - sa population a été déportée et exterminée lors de la deuxième guerre mondiale. Restent les lieux, ces lieux déserts, 
plein de souvenir qui s'effacent. Ce qui est particulier, c'est que cette réflexion se fait à travers les moyens musicaux de la musique électronique et une série d'enregistrements réalisés sur place - tout 
se combinent et donnent trois visions qui se complètent - Meissner tente de souligner l'absence - Ran Slavin, un renouveau possible - Eran Sachs, une vision à travers le souvenir du passé. Les trois créateurs 
se sont retrouvés sur place à plusieurs reprises - en hiver 2003, notamment, où la plus part des enregistrements ont été effectués, ils se sont retrouvés en juin de la même année pour compléter leurs travaux 
et les combiner en un travail commun. Le vent glacé, les craquements dans la neige, les conversations… tout crée un nouveau film sonore au delà de la désolation initiale. C'est donc un projet à la fois musical, 
et politique, dans un sens large du terme. Une réflexion sur l'Histoire et ses désastres. Sebastian Meissner. Travaille comme musicien, sound designer et photographe à Vienna. Il a travaillé avec le Goethe 
Institute Buenos Aires, Kulturhuset Stockholm , le Forsythe Ballet. Sa music sous le nom de Random Inc a été publiés sur les labels Mille Plateaux, Ritornell, Kompakt, Beta Bodega… Ran Slavin. Travaille comme
cinéaste, artiste audio-visuel et musicien à Tel Aviv. Son dernier film INSOMNIAC CITY dont la première eut lieu en 2004 à la Biennale de Venise. Il poursuit son travail sur le cinéma expérimental et ses 
compositions de pièces électroniques. Eran Sachs. Travaille comme compositeur, improvisateur, sound-artist et curateur à Jerusalem. En tant qu'artiste sonore, il tente toujours de combiné esthétique et 
politique comme ce fut le cas pour"Yannun Yannun", qui traitait du harassement de villageois palestiniens par des colons israéliens fanatisés. En outre, il a fondé et gère Yad-Vashem bookstore - la seule 
libraire en Israël exclusivement consacrée à l'Holocauste"
http://www.metamkine.com/



http://rep.no.sapo.pt
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

Sebastian Meissner (mais conhecido por Random Inc), Ran Slavin e Eran Sachs receberam individualmente da Sub Rosa a incumbência de proceder a uma “reflexão aural” sobre as mudanças culturais ocorridas num 
velho bairro judeu (700 anos!) de Cracóvia, e eis aqui o resultado, num único álbum com diferentes perspectivas sobre o tema. Estamos em território do paisagismo sonoro, não necessariamente identificável com 
a “ambient music” mas com aspectos em comum, sendo de assinalar a generosa utilização de “found sounds”. Com destaque para Meissner, que nas suas edições pela Mille Plateaux havia já dado mostras do seu 
especial interesse pela recolha e pelo tratamento dos sons “in situ”, e que em “Into the Void”, título de sua própria lavra, ocupa as 11 primeiras faixas, pelo caminho referenciando os novos conceitos com 
que se entende a realidade (“Virtual Jewish Space”) ou piscando o olho a investimentos artísticos outros (“Radical Jewish Culture”, em alusão a John Zorn). Na sua contribuição destaca-se muito especialmente o 
processamento electrónico a que procede de gravações de um grupo klezmer, algo a que a crítica já chamou de “glitchcore”. Slavin, pelo seu lado, volta aos “drones” gelados que lhe ouvimos na portuguesa Crónica, 
numa incursão em seis partes que ora se perde ora se encontra nos meandros de uma memória feita de impressões sensoriais – o título “Into Krakow on the Night Train / Melting Snow Tracks / Quiet Town” diz, 
aliás, tudo a esse respeito. Sachs, o menos conhecido do trio de artistas, apenas ocupa 15 minutos do CD, indo dos “field recordings” à electrónica “hardcore”, despertando-nos a vontade de saber o que mais 
tem feito. Um disco estranho, poderoso e a merecer cinco estrelas.
http://rep.no.sapo.pt


SURGERY
MEISSNER / SLAVIN / SACHS "into the void"
CD (Sub Rosa, Belgium, 2006)

Begun as an investigation into the presence/absence of Jewish culture in one of the oldest European Jewish neighbourhoods; Sebastian Meissner and Eran Sachs did field recordings in the nearly empty winter 
streets of Kazimierz, Poland. Meissner then worked on the sounds to unravel a tale of coldness and disappearance, representing the populace only in the traces of footsteps, car sounds and briefly overhead 
conversations. Eventually a spare musical element creeps into “Kazimierz: Empty and Ghostly Place;” a spectral piano phrase that is a near mirrored opposite of Jurgen Kneiper’s score for Wings of Desire. 
Appropriate for the portrait of a city not watched over by guardian angels. The fast-forwarding of “…198819901992199419951996…” takes amassed samples and blends them into a blurred acceleration that has an 
erasing effect. Ran Slavin, who also shot video for a 2003 exhibition of a version of the piece in Krakow, and Sachs also both contributes more abbreviated suites using the same sources. 
Slavin's “Segments from the Snow” and Sachs’ “Memory Gaps” are both more sculptural in their approach, reducing the mass but sharpening details until both are left with intricate snow globe representations 
of the frigid city.
surgery




Tropical Agent/Ears in Water (Cronica, Product 02) CD



Israel's Ran Slavin is the subject of two pieces for his contributing Product. As his liner notes state, there is something of an "organic synthesis
in an urban environment" to these pieces. The environment itself, perhaps of Slavin's hometown of Tel-Aviv, struggles to be heard in the composition.
This accords with his process, for he "included extra sounds to the tracks after being randomly exposed to their juxtaposition with sounds from the
environment." Although the multivalent directions never approach cacophony, they verge on catastrophe at every turn. This is not tension as linear
climax but rather the continuous implosion of repetitive strata, and at times it is heartbreaking. Localized recordings of guitar or other simple
elements find themselves in a world criss-crossed by unexplained events. This is electronic music made profoundly within and of the world, and calls
for sustained listening while pacing the relation between the environment and music itself.
e|i magazine, issue four, spring 2005
Reviews by Tobias C. Van Veen / B.T.P. by Everett Jang-Perdue



I wish more laptop electronica so readily betrayed its human origins as this CD, emanating warmth from the zeros and ones, however paradoxical that
sounds.
This reviewer first encountered Ran Slavin in the role of remix artist on Walking in Jerusalem by Random Inc. (aka Sebastian Meissner). 
His CD is the second installment in Cronica's "Product" series (www.cronicaelectronica.org), on which the Portugese label strives to release
two longer pieces per release (harkening back to the heyday of split vinyl), as well as inviting an independent artist to do the graphics - in this
case, executed with élan by "Jew Boy", or Yaron Shin who, like Slavin, hails from Tel Aviv.
Slavin‚´s pieces are indeed warm and human, mildly reminiscent of Fennesz. The soundscapes are alien and nostalgically inviting at once, betraying
something of the rumble, whispers and small intrusions of daily life. 
Though the process is the thing - abstract computer and field recordings - guitar seems to be the prime conventional musical instrument being fed into
the mix, indeed occasionally emerging to lend something almost akin to melody to a piece. 
Both "Tropical Agent" and "Ears in Water" are interesting and innovative works by a performer I personally look forward to hearing much more from.
Until his next solo release, the eager listener can still his or her impatience by checking out several tracks on Bizz Circuit´s (another Meissner
pseudonym) Intifada Offspring.
Posted by Stephen Fruitman at 09:19, 27 Jul 2005 



Cronicas "Product"-Serie vereint konzeptionell zwei verschiedene Werke auf einer CD, in diesem Fall "Tropical Agent" und "Ears in water" von Ran Slavin. 
Die mikroskopischen Aufnahmen sind hektisch, es knackt und rauscht ("Dirty needles"), melodische Klangflächen werden mit Knistern kombiniert 
(Search for compassion") oder es taucht etwa eine Geige im dunklen Rauschen auf ("Silent siren"). Ran Slavik selbst spricht in den Linernotes vom Element 
des Zufälligen, das bei der Komposition eine Rolle spielte. Dennoch wirkt kein einziger der Tracks beliebig, stattdessen klingen sie reich und durchdacht 
und auch ein Stück, das den Titel "Desert rain" trägt, verkommt nicht zu New Age-Muzak, sondern kontrastiert die harmonischen Klangflächen mit etwas, 
das nach dem Knistern einer Schallplatte klingt (ob das der Regen sein soll?). Die Stimmen, die beim zweiten Teil der CD eine größere Rolle einnehmen, 
scheinen Material zu sein, das bearbeitet wird und einer Konzentration auf das Wort (und den Verstand?) entgegenläuft.
(F. J. Murau)
www.taucher-online.org/rez.htm



In casa Cronica i dischi della serie Product sono quasi sempre degli split tra due artisti, il caso vuole che i due artisti a divedersi lo
spazio su Product 02 siano Ran Slavin e.. Ran Slavin!  Ran Slavin che splitta con se stesso.. il compositore israeliano, conosciuto negli
anni anche sotto diversi pseudonimi come Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho e chiss  quanti altri, si presenta a noi con questi
due lavori di rara bellezza.. il terreno percorso è quello del Christian Fennesz pi dolce, anche se le composizioni di Ran Slavin
virano verso atmosfere pi solari e mediterranee (ehm, tropicali.. nel caso di Tropical Agent, per.. avete mai provato a fare "il
morto" a mare? beh.. quello ¨ Tropical Agent! ..avete mai provato a stare il pi¹ tempo possibile sottacqua lasciandovi trasportare dalle
onde? beh.. quello  Ears in Water!
..hai capito 'sto Ran Slavin!? Ha riprodotto quelle paradisiache, sognanti e indescrivibili sensazioni che tutti noi proviamo a contatto con
l'elemento della natura a noi pi simile (siamo o no, composti al 70% d'acqua?) in suoni che ci riconducono a immagini di puro benessere.. un
raggio di sole che trafigge il mare.. un vento caldo che sfiora la nostra pelle.. il lasciarci trasportare dalle onde rimanendo con gli occhi chiusi
sotto un sole che picchia forte su di noi.. sono tutte esperienze fisiche che noi tutti possiamo provare, ma il risultato di queste esperienze in
termine di sensazioni ¨ improbabile riproporlo o cercarlo di descrivere.. si deve provare e basta.. e questo vale anche per Ran Slavin, solo
che lui ¨ (quasi) riuscito nell'intento catapultandoci con le sue composizioni a (ri)vivere quelle atmosfere sulle nostra pelle sollecitando
solamente il nostro udito.. che dire altro? un sogno.. una poesia.. fantastico!
Paride Polimeno
05.2005 stillborn-webzine.tk



This album from the experimental Portuguese label Cronica is actually a split disc featuring two separate works, coincidently from the same artist.
Ran Slavin is an audio/ video composer and improviser who has previously operated under diverse monikers such as Tonr, Extract, Iran and Rose of
Jericho, working with various noise outfits in Israel and London from the late 80’s – early nineties. These days his musical work is
purely within the abstract electronic realm, utilising flecks of static and warm metallic drones to come across with the treated lushness and depth of
Austrian maestro Christian Fennesz. The initial nine cuts under the umbrella Tropical Agent are quite amazing constructions, gorgeous minimal drone
pieces, warm low key pulses that resemble beats, skittery delayed electronics and a craftsman like use of dynamics. Allowing for thirty seconds dead
air in between, on Vista Plain, the opening track of the second part entitled Ears in Water, Slavin incorporates the gentle strumming of guitar, a
pulsating drone and some gently tearing digital static to hypnotic effect. Whilst the remainder of the disc continues deep within the experimental
realm of the first, it is actually stranger, somewhat more abstract, with peculiar muttering over far away drones, and sounds that seem to begin from
miles away before slowly evolving into focus. 
Bob Baker Fish
11.2004 cyclicdefrost.com



The disc contains two works, "Tropical Agent", a nine-movement composition, and "Ears In Water", separated by thirty seconds of "Product Silence".
There's something smooth and seductive about Slavin's work, which manages obliquely to reference ambient techno – the terraced mix, the nearly
regular click backbeat, the lush string carpet (check out "Search for Compassion") – without ever jumping across the fence into em:t territory.
His samples are exquisitely selected and skilfully combined (I especially like the snatch of the Brahms Violin Concerto that drifts in and out of
"Silent Siren") and it's all as sleek, streamlined and suggestive as the accompanying photography by Jewboy Co.
DW
11.2004 paristransatlantic.com



Ran Slavin's CD is apparently meant to be a split CD with himself (an original approach I must admit). This release is also quite minimal, but
contains more accessible sounds (loops and drones) from an instrumental background that form a warm, almost Mediterranean, atmosphere somewhere
between the styles of Fennesz and Vance Orchestra. The overall CD is very nice, but I do not really understand why this is supposed to be a split
release. The second half of the disc (the "split" side) is a bit colder in atmosphere, but contains the same style elements used on the first half, so
it is simply a CD that contains two nice works.
TD
10.2004 funprox.com



L'album est donc divisé en deux parties, toutes les deux à peu près sur le même ton, tandis que c'est la construction des morceaux qui change un peu. La première partie, Tropical Agent, 
composée de neuf morceaux, propose autant de variations sur des boucles acoustiques complètement retravaillées au laptop, afin de les rendre plus fragiles, fracturées, et souvent noyées 
dans des souffles, grésillements et autres clicks. On obtient alors des morceaux plutôt ambient et franchement hypnotiques, mais jamais ennuyeux puisque tous les éléments semblent toujours en mouvements, 
alors que d'autres apparaissent et s'éloignent au fil des morceaux, plus ou moins régulièrement, un peu comme tous ces bruits mécaniques qui servent à rythmer les pièces. 
Chaque morceau possède donc son propre son, suivant que le matériaux de base soit une boucle de tintements chaotiques (Dirty Needles), ou d'un timide piano et harpe (If You Should), 
un violoncelle (Search for Compassion), ou une guitare traitées à la Fennesz sur U Think U Konw Who U Are. A l'écoute du premier morceau on se dit que l'on a affaire à un disque très expérimental, 
peut-être difficile d'accès, mais on se laisse vite prendre au jeu de ces mélodies écorchées, de ces lentes évolutions vers l'épure, par cette impression que le temps s'arrête au beau milieu d'un morceau, 
uniquement ponctué par le mouvement, lent et régulier des pales d'un hélicoptère, ou par cette façon de rendre un morceau ambient oppressant (Triggers of Violence). 
La deuxième partie, intitulée Ears in Water, composée de cinq morceaux, met en avant des souffles grésillants, métalliques, aux oscillations régulières, qui servent de tapis sonore à des mélodies 
ou collages sonores. Une lente mélodie de guitare sur Vista Plain, une voix féminine fracturée subissant de multiples effets au milieu de fins bruitages et sons sur le superbe Girls in Water, 
ou sa version masculine, plus grave à tout niveaux, avec Untitled #1. 
Pour finir, deux morceaux opposés avec Untitled #2, magma de souffle et micro-bleep qui s'organisent petit à petit en une mélodie pointilliste, puis Piano, avec une superposition de claviers 
très francs au regard du reste de l'album. 
Encore une fois le label portugais nous étonne, réussissant à marier expérimentation et sensibilité, efficacité et originalité, se révélant être l'un des labels les plus excitants du moment. 
Fabrice Allard
10.2004 Etherreal.com



...i due album firmati Ran Slavin e qui riasemblati in un eraviglioso ambiente fluttuante e mellifluo, dove piccole increspature di suono e crepitii riescono a mandare 
in estasi gli ascoltatori più delicati. L'utilizzo di chitarre manipolate, di violini triduli e di frequenze molto basse dona sensazioni ora di salubre tepore, ora di leggera asperità, 
conducendo l'album verso un risultato di piacevole fremito uditivo. (...) Un gran disco, arrichito dal''artwork di Jewboy Co. 
Michele Casella 
09.2004 Rockerilla.it



Tropical Agent donne en tout cas toute la mesure des capacités de R.Slavin. Ce compositeur que l'on connaît sous bien des pseudos (Tonr, Extract, Aerial, Iran_Camp ou Rose Of Jericho) 
et qui est un vétéran des musiques improvisées et de rock expérimental nous montre ici l'étendu de son talent en mettant en forme des compositions électroniques minimales et flottantes 
qui apparaissent comme assez malléables et d'une accessibilité à toute épreuve. Certes les morceaux de cette première partie sont assez abstraites mais ils laissent une part belle à une beauté 
artistique qui n'ose pas dire son nom. Dans ce style si particulier il faut parfois lutter, faire un effort de l'esprit pour se rendre compte de la qualité d'une öuvre. 
Ici tout semble facile, évident, comme si la musique de R.Slavin tombait sous le sens. Rien que Triggers Of Violence » pourrait résumer à merveille l'état d'esprit de Slavin. 
C'est beau et il n'y a rien à rajouter. 
Pour Ears In Water» on prend quasiment les même ingrédients et on recommence. Rien de neuf sous le soleil, donc? Pas si sur. Ici R.Slavin pousse l'abstraction un peu plus loin, 
utilisant sur Girl In Water » la voix monocorde et neutre de Lin Chazolin Dovrat en la hachant et en la triturant, en créant des ambiances plus glaciales, sans doute moins évidente, 
mais non moins intéressantes. En tout cas l'univers de R.Slavin ne reste pas figé, les deux öuvres se complémentant. La première est résolument plus ouverte, la seconde définitivement 
plus cérébrale, mais la base architecturale reste la même. 
Fabien
07.2004 Liability Webzine.fr



Blinding flashes, quick mirages and sad memories seem to be what Ran Slavin builds upon. Here he presents two works, "Tropical agent" and "Ears in
water"; both parts very well functioning as "active ambient" material, perfect to be listened during other activities - nevertheless, the care in
assembling sounds is total, guaranteeing a stimulating perspective from the listener's point of view. Tasteful morsels of ahead-thinking knowledge
about the psychology of aural reception are continuously served during the 70+ minutes of the disc; the music itself becomes a mechanism for turning
up a mellow unquietness which is essential in this "product" appreciation process. This music does not attack you directly, it rather settles into
your humour transforming itself, helping filling those voids that are the first signs of uneasiness in a nice example of emotional juggling.
Massimo Ricci 
07.2004 Touching Extremes.it



Dir kompositionen offenbaren ihre eigenartige und fragile Schönheit in langsamer und konzentrierter Entwicklung durch separate Tracks, die in
bizarr konstruierter Feinarbeit aufeinnder hin arrangiert sind. Das so entstehende Panorama aber ist organisch und sinnlich.
07.2004 terz.de



Doch genug zu Äußerlichkeiten, es ist ja auch noch Musik auf der CD: Der erste Teil des "Produkts" steht unter dem Namen "Tropical Agent" und besteht 
größtenteils aus bearbeiteten Samples, die mich ein wenig an mediterrane Gitarren erinnern. Das Puzzle aus diesen Fragmenten wird noch durch ein paar 
digitale Glitches umrahmt, so dass eis recht ruhiges und ausgeglichenes Gesamtwerk entsteht. 
Der zweite Teil "Ears in Water" verbreitet eine ähnliche grundstimmung, nur scheinen heir eher synthetische Flächen, glitches, dezentes Rauschen, 
zertückelte Vocals und ein paar Random-Sounds in Vordergrund zu stehen. Alles in allem der perfekkte Soundtrack für einen Samstag Vormittag, der sich nicht 
entscheiden kann, zum Samstag Mittag zu werden.
06.2004 black.de



L’israeliano Ran Slavin (aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho…) è stato chitarrista e bassista in gruppi rock ancor prima che musicista elettronico, 
e i suoni della chitarra continuano ad avere un ruolo fondamentale nei suoi intrecci fennesziani (e sono proprio quei suoni a renderli tali). Tropical Agent e 
Ears In Water sono due suite di eleganza e raffinatezza esemplari, dove la cristallina sequela delle tessiture, un’autentica trama dalle fibre colorate, scorre fluida, 
e rinfrescante, come un venticello nell’afa estiva, ma senza mai scendere nel torbido di una eccessiva patinatura. Rispetto a “Endless Summer”, sempre quello il paragone,
esiste comunque una buona dose di autonomia, riscontrabile sia in alcuni richiami all’industrial sia in una narrazione chitarristica più definita, riconoscibile in quanto tale. 
Accanto ad essa, o ‘inside’, un movimento scandito spesso dal ritmo di campane… e tanta ripetitività, o circolarità che dir si voglia. Una musica che comunica la sensazione, 
come dire, di sorgere dall’acqua, tanto suona attutita, ovattata, lenita, lavata da ogni minima scoria… alla ricerca di una purezza che non può esistere 
(e questo indirizzo utopico è casomai l’unico difetto del disco). È forse un caso se tre fra le tracce più belle sono Flat Tire at the Dead Sea: splendido excursus dagli 
accenti morriconiani; Girl In Water: fair play con la voce di Lin Chalozin Doyrat, e Silent Siren: gemma sonora impreziosita da un mendace violino tzigano. 
Se l’ultimo disco di Fennesz si intitola ‘Venezia’, ancora un richiamo all’austriaco, questo potrebbe intitolarsi ‘Malta’, ‘Rodi’, o con il nome di un’altra isola mediterranea, 
tanta è la sua concupiscente solarità. Questo genere di musica sembra essere alla frutta, ma “Product 2”, doppio merito al valore, è comunque un buon disco.
06.2004 sands-zine.com



He is from Tel Aviv, started as a painter, played in rock and experimental bands and now does audio-visual work. He works with computer processed
sound and field recordings. Much to my surprise, the main instrument being fed into the computer is the guitar, which is rather joyfully being
processed in the first work 'Tropical Agent', which are nine tracks in total.
In a strange the music is rather uplifting. In 'Ears In Water', five tracks, the mood is a bit darker, introspective. The guitar might be there too,
but maybe not. These tracks are also a bit more minimal (...)  there are certainly some nice tracks to be found here.
FdW
06.2004 vital.nl



Melhor sucesso tem o Product que reúne duas facetas bem distintas de um mesmo músico, Ran Slavin, tratadas, devido até à natureza da colecção, 
como se de dois criadores se tratasse. Se o Slavin da primeira metade, Tropical Agent, passa por um conceito do “sampling” devedor das manipulações 
bem-humoradas e joviais de Carl Stone, o Slavin da segunda, Ears in Water, tem mais a ver com a inquietante postura de uns Nurse With Wound. 
Rui Eduardo Paes
05.2004



Das Portugiesische Label Cronica hat sich seit einiger Zeit einen Namen mit konzeptionellen Veröffentlichungen experimenteller Musik gemacht. 
In der Reihe 'Product' werden jeweils zwei Werke eines oder verschiedener Künstler vorgestellt und zugleich miteinander konfrontiert. Dabei wird auch 
auf die gesplittete Formatierung der klassischen Schallplatte zurück verwiesen. Jede CD der Reihe ist zudem ausgestattet mit dem exklusiven Artwork 
eines weiteren Künstlers. 
Mit zwei Werken des Komponisten Ran Slavin, "Tropical Agent" und "Ears in Water", liegt das aktuelle 'Product' vor. Das Cover des isrealischen 
Designers Jewboy Co. (Yaron Sin) verarbeitet Nahaufnahmen des menschlichen Körpers zu imaginären Landkarten und Strukturen, wären die Musik oft 
fragile Klangkonstruktionen entfaltet, die mit gläsernen und verhallten Klängen ihrerseits Bilder auf eine aukustische Leinwand malen. 
Slavins Musik erinnert somit gelegentlich an die Ambientmusik der siebziger Jahre, entfernt sich jedoch immer wieder in eigene 
fragmentiert-rhythmisierte Gefilde. Dabei ist dieser Tonträger immer noch im Bereich des betörend-angenehmen. Die Dekonstruktion gleitet nie 
in destruktive Eskapaden ab.
06.2004 ikonenmagazin.de



Aqui, a primeira parte é ocupada com "Tropical Agent", título que nos remete logo para os campos do romance policial. O resto da sugestão é dado 
pelos títulos dos temas, tais como "Silent Siren", "Guitar String / Empty Streets", "Flat tire at the dead sea" ou "Triggers of Violence". 
Escutados, são registos bem menos lineares do que isso. São percursos por texturas com as pontas dos samples frias, vigiados por um rumorejar constante. 
A cada faixa um latejar próximo da insónia, em deturpação lenta, como reminiscências de ecos. Não são paisagens oníricas porque a adrenalina não deixa, 
não são progressões dinâmicas porque o torpor é excessivo. Fica-se entre a familiaridade e a estranheza, numa terra próxima do que a ambiguidade permite. 
É desse enclave que o negrume nos crepita. 
A segunda parte do disco chama-se "Ears in water", o que não significa transição pronunciada. Por o método ser semelhante também a atmosfera é próxima de 
"Tropical Agent". Começa em estado de perturbação cândida, quase melódica ("Vista Plain"), passa por um spoken word monossilábico ("Girl in water"), 
ruma à abstracção (em dois temas apropriadamente sem título), e termina na sugestão instrumental de "Piano". Também esta é uma sequência belíssima, 
num dos discos mais acessíveis da Crónica — talvez por ter uma maior intervenção orgânica, cortesia de sons instrumentais ou informais. (7/10) 
Sérgio Gomes da Costa
05.2004 Blitz.pt



As edições da Crónica Electrónica têm marcado positivamente o último ano, tanto pela regularidade como sobretudo pela coerência e qualidade 
dos lançamentos na área da experimentação audiovisual. Dentro do movimentado calendário editorial destaca-se a série Product, uma bem delineada 
recuperação da lógica split que possibilita a conjugação de duas peças distintas por dois artistas diferentes, que se complementam no plano áudio 
e são complementados na perspectiva visual por um empacotamento elaborado por um terceiro elemento. É manifesto o cuidado e o entusiasmo pela 
divulgação que é posto nestas edições. 
Tropical Agent e Ears In Water formam o Product 02, depois do primeiro split entre Sumugan Sivanesan e Durán Vázquez, com capa de Maia Gusberti 
[O “Product 03”, dividido entre André Gonçalves e Jorge Cortés, com trabalho gráfico da InsertSilence, foi também recentemente editado]. 
Excepcionalmente, é composto por dois trabalhos do mesmo autor, Ran Slavin. Ran Slavin é um experiente artista audiovisual israelita, já editado 
pela Crónica Electrónica na compilação On Paper com dois temas em parceria com Sebastien Meissner sob o nome de b.Z_ToneR. 
Tropical Agent, o primeiro trabalho, está em constante metamorfose, como som a movimentar-se lentamente por um caminho sinuoso, escolhendo 
aleatoriamente um percurso exposto aos elementos. Há um forte pulsar orgânico na maioria das composições, de entre as quais destaco “Silent Siren” 
e “Guitar Strings / Empty Streets”. Em Ears In Water há no início um relacionamento quase literal com o título, na maneira em que induz um torpor 
hipnótico e ondulante, que posteriormente prossegue para um crescente abstracionismo, com maior ênfase na manipulação. 
Da soma destas duas partes resultam dois conjuntos distintos, de interesse nem sempre constante, mas coerentes consigo próprias e com uma estética 
louvável. Os aspectos gráficos foram realizados pelo também israelita Yaron Shin... 
Manuel Poças
05.2004 aputadasubjectividade.net



http://www.avopolis.gr/reviews/default.asp?ID=2159
In French:
Deuxième épreuve de la série Product du label Cronica, série dédiée à la confrontation de genres au
sein d’un même album et où sont généralement associés un graphiste/ Illustrateur/ Plasticien/ Designer qui a
à sa charge la couverture de l’album et de l’autre, un musicien qui est pour sa part dépositaire des créations
sonores.Evidemment, l’interaction est extrêmement ténue, marquée. Elle oppose un graphisme haché, piéces et
parties d’images recomposées, surajouté de caractères monochrome, fruit d’un univers à la fois
extrêmement doux et violent à une musique qui par analogie ou mimétisme se caractèrise des même adjectifs.Sorte de
superposition constante de sons, de mécanismes cinématiques, de strates recursives, de mélodies de sous-sol rayées,
Cronica 009 donne l’impression d’être en présence d’une mécanique immergée, qui malgré les points
de rouille et les algues continue à faire tourner ses rouages, se laissant à l’occasion transpercer de rayons de lumière,
venus troubler s a tranquilité. Ran Slavin livre ici un album empli de subtilité et de nuances, ni tout à fait ambiante, ni
proprement Post –industriel, d’une grâce et d’une profondeur infinies. L’immersion absolue.
In English:
Second test of the Product series of the Cronica label, series dedicated to the confrontation of kinds within the same album and where are generally
associated a graphic designer Illustrateur/ Plastics technician Designer who has with his load the cover of the album and other, a musician which is
for its part agent of creations sonores.Evidemment, the interaction extremely thin, is marked. It opposes a graphics 
chopped, piéces and started from recomposed images, added again characters monochromic, fruit of one universe at the same time extremely soft
and violent one with a music which by analogy or imitation caractèrise of very the adjectifs.Sorte of constant superposition of sounds,
mechanisms kinematics, recursives layers, striped melodies of basement, Cronica 009 gives the impression to be in the presence of an immersed
mechanics, which in spite of the points of rust and the algae continues to make turn its wheels, being let on the occasion transpierce rays of light,
come to disturb its tranquility. Ran Slavin delivers here a filled up album of subtlety and nuances, neither completely ambient, nor properly Post -
industrialist, of an infinite grace and a depth. The absolute immersion.



Ran Slavin, "Tropical Agent" / "Ears In Water", Product 02, Crónica Electronica, 2004 
La serie "Product" son mini compilaciones de este sello establecido en Porto, Portugal, en las que normalmente participan dos artistas, cada uno con
una mitad del CD, es decir, una suerte de split, en el que también se incluye el trabajo de un diseñador que se inspira en la
música para crear la gráfica del disco. En la más reciente serie "Product 03" se incluye a Ok. Suitcase y al chileno Jorge
Cortés, con su proyecto Cáncer. En este "Product 02" sólo se incluye el trabajo de este artista israelí. 
Ran Slavin inicia la producción musical en los '80 y '90 en Israel y Londres participando en bandas experimentales de carácter ruidista.
Slavin toca la guitarra, bajo y en los '90 incursiona en el campo de la música digital y el video, uniendo ambas expresiones artísticas
para realizar sus instalaciones, cuyo soporte, el procesamiento digital a través del software, deconstruye el sonido y las imágenes. En
este proceso hay lugar para la improvisación a través de los efectos aleatorios y el ambiente también juega un papel
interviniente, introduciéndose en el sonido y las texturas que se producen. De esta forma la música de Slavin se sale del entorno en que
fue creada para salir de él y encontrarse con otro. 
En el trabajo de Slavin están presentes las melodías como las que se producen con pulsaciones de bajo, la parsimonia del piano y el
violín en "If you should"; el procesamiento de voces en "Search for compassion" y en "Girl in water" con la participación en voz de Lin
Chalozin Dovrat, cuyas vocales entran y salen en un juego magnífico de edición. La improvisación con guitarras y efectos tiene
una dosis importante en los temas "Search of compassion", "Guitar string/Empty streets" y "Flat tire at the Dead Sea". Las zonas ambientales de "Vista
plain" nos recuerdan a Rapoon con esos sonidos amurallados e hipnóticos y el silencio, como un elemento también del sonido, se encuentra
en el espectral "[Product silence]" de casi 30 segundos. Este artista sonoro fusiona delicados y abstractos sonidos con inesperados efectos del
entorno. Más info. en cronicaelectronica 
Texto Guillermo Escudero 
Agosto 2004



In English:
Ran Slavin, 'Tropical Agent' / 'Ears In Water', Product 02, Crónica Electronica, 2004 [english]
The 'Product' series are a kind of mini-compilations of this label based in Porto, Portugal, in which normally the work of two artists are included in
a single CD, that is to say, like a split, in which also the work of a guest designer is considered, who is inspired by the music to produce the cover
artwork of the CD. In the most recent series 'Product 03' participates Ok. Suitcase and the Chilean artist Jorge Cortés with his project
Cáncer. In this 'Product 02' only is included the work of this artist from Israel. 
Ran Slavin starts his musical production in the 80's and in the 90's in Israel and London participating in experimental noise bands. Slavin plays
guitar, bass and in the 90's gets involved in the digital music field and video, combining both artistic expressions to make its installations, whit
the support of digital processing through software, deconstructing sound and images that are produced. In this process there is place for the
improvisation through the random effects, and the atmosphere also plays an intervening role, introducing in the sound and textures. In this way
Slavin's music leaves the surroundings in which it was created to blend the music with its environment. 
In Slavin's work melodies are present as well the ones that take place with bass pulsations, the piano's parsimony and violin on 'If you should' the
processed voice on 'Search for compassion' and 'Girl in water' with Lin Chalozin Dovrat on vocals that go back and forth in a magnificent edition
game. The improvisation with guitars and effects has an important dose in the cuts 'Search of compassion', 'Guitar string/Empty streets' and 'Flat
tire at the Dead Sea'. The ambient zones of 'Vista plain' remember me of Rapoon with those hypnotics walled sounds, and silence as an element also of
sound is in the spectral '[Product silence]' of almost 30 seconds long. This sound artist merge delicate and abstract sounds with unexpected effects
of the environment. More info at cronicaelectronica 
Text Guillermo Escudero 
http://www.loop.cl
interview:
http://www.loop.cl




Essays On Radio: Can I Have 2 Minuets Of Your Time? (Cronica)



It didn't take long for the laptoppers to realise that concertgoers quickly get fed up of parting with hard-earned cash in return for having to stare 
intently at young men and women staring intently at their screens behind those annoyingly unavoidable luminous Apple logos. Unless, that is, you happen to enjoy 
watching Christian Fennesz smoke a cigarette or Christof Kurzmann swigging at a beer. Hence the frequent incorporation of live video in today's electronic music, 
for which the DVD format is especially appropriate. This companion DVD to the earlier CD compilation of the same name, Essays on Radio from the Portuguese Crónica label 
is a fine showcase of 28 two-minute videos - they call them "clips" in France, and that's a rather apt description of the short form works on offer here
- ranging from grainy home movie footage (Nuno and Pedro Tudela's "Guandong Tuning Tone", Maximilien Jänicke and Random Industries' "Media Corrosion") via primitive animation 
(Júlio Dolbeth's "AM/FM", to music by Steinbrüchel, and Brigitte Bödenauer's video to the DVD's title track, with sound by Miguel Carvalhais) to more abstract visuals 
(Stefan Mathieu's "Radiance" is especially touching) and accomplished psychedelic / geometric mindfucks by Tina Frank (perfect for General Magic) and Erich Berger 
("Free Radio Azimuth", music by Pure).
Needless to say, the whole project has the feel more of a collection of holiday snapshots, and eyes and ears are quickly saturated (but don't feel any compunction to watch 
the whole disc through from beginning to end - just dip in and out); accordingly, the tracks that work best are those where the correspondence between sound and image is clear. 
Marius Watz's "Int.15/35" with music by @c gives General Magic and Tina Frank a run for their money, and the filtered desert colours of Ran Slavin's "Golden Twilight Memories" 
are as haunting as his music. Slavin's work throughout is impressive and moving - his "Radiophonic Fairytale" (with The Beautiful Schizophrenic, whoever that may be) and "Radio" 
(with James Eck Rippie) are magnificent. Maybe the good people at Crónica could release a full length feature.

paristransatlantic.com




Various Artists - On Paper (Cronica)



On Paper is perhaps the most strange, uncommercial, unfathomable and
difficult releases around. Yet I say that with a strange sense of
awe. The concept of mixing and remixing the sounds of paper being
ripped, those great big thick, almost cardboard gig posters you see
around town, or you would if you lived in Berlin, is unmistakably
weird. Stranger still is that this is a double disc set filled with
numerous souls who have lined up for the challenge. And there's even
some known names such as Sebastian Meissner (Random Inc/Autoposies)
and Ran Slavin who team up under the name b.Z_ToneR for a couple of
incredibly minimal and tense electronic pieces flirting in that quiet
and gentle way with dangerous frequencies that in the wrong hands
could be potentially head splitting, yet in theirs are almost pop.
There's also German artist Stephan Mathieu, a master at dragging out
the unseen/ unheard frequencies trapped beneath the recordings.
Mathieu's contribution surprisingly is a spooky drone, half feedback,
half organ, a dreamy narcotic that seems to have little to do with
the paper preamble, which only leads to more confusion. Many of the
tracks feature much scratching, banging crashing and yes of course
ripping, but little in the way of melody, rhythm, or repetition, in
short there are very few handles. Yet it's in these strange bleak
environments where the unexpected can grow, such as the fragile warm
industrial drone of Pal or Pure's All This Paperwork, which begins
abstract and difficult yet develops a soothing electric ambience that
is simultaneous painful calming before erupting into a strange
mechanical drone. Again what this has to do with paper is totally
beyond me, yet given this disc boasts some of the strangest music
I've encountered I'm willing to sit tight and forgive any thematic
inconsistencies.
Bob Baker Fish
http://www.cyclicdefrost.com/review.php?review=503au



V/A On Paper
Crónica 005~2003
Per la serie se non sono matti non li recensiamo ecco a voi direttamente dal "Portugal": On Paper. Pedro
Tudela introduce il sampler parlando della carta e del fatto che collezionando vari mucchi di poster si è
interessato al concetto stesso di carta come materiale, al suo utilizzo ed al rapporto che quest'ultimo ha con
l'intervento umano e naturale dal quale solitamente ne esce modificato, manipolato, romodellato. Sorvolando
l'interessantissima filippica sulla carta contenuta nel booklet del doppio cd passiamo alla "musica" (si fa per
dire). Tracce concrete/simil "field recording" come quelle di Ac e Vitor Joaquim (a cui sembra non ci siano
aggiunte di alcun genere), cross-over fra "fields recording", musica concreta ed elettronica come in [des]
integracao (notevole entrambe le tracce), b.Z_toneR leggermente più strutturato ed elettronico, Pure cupo
come sempre, ma addirittura ai limiti dell'autismo (in questo stesso senso vedete Current 909), isolazionismo
puro che gira dalle parti di Mick Harris per Pal, elettronca ambientale come una della tracce di Pedro Tudela,
in parole povere un CD variegato. Un operazione interessante, grafica austera ma di lusso, traccia
multimediale come da copione e un volo pindarico che dura quanto i due dischetti.?
Andrea Ferraris
08.2005 Sodapop.it



The Portuguese label Crónica released a double CD with several relatively unknown names. Some of the
artists presented here have released material through the label previously, like @c, Pedro Tudela, Longina
and Vitor Joaquim. Other artists such as Stephan Mathieu or Pure are known due to releases resp. Lucky
Kitchen, Fällt Publishing, Ritornell, and Grob or dOc Recordings.
The first album can be seen as a collection of tracks with a rich diversity. CD1 features seven tracks, all offering
a different atmosphere. Opening with Vitor Joaquim's strong rhythmic piece in which heavy noises interrupt and
interchange with the rhythm, the album continues with a more myterious approach by (Des) Integração. The
combinatin of crispy sounds, crackles and the sound of bells gives the listener the impression to be situated in
a mysterious fabric hall all on it's own.
The third piece can be considered just as uncommon, b.Z_ToneR combine a female "Science Fiction" voice
with irregular percussion beats and many sound particles.
Stephan Mathieu offers a piece in which flutes seem to be tuned. Sad, long drawn-out tunes have been layered
in a monotonous, emotionless way. Pure's contribution exists of different atmospheres. Some parts of this piece
remind of the refined work by Richard Chartier, other parts seem to be generated by means of contact mics.?
Pal's composition reminds of a slow approaching sound ship; dense repetitive and mysterious. Paulo Raposo's
contribution changes all the time, heading off with disrupted, distorted snippets and getting quite noisy at the
end.
The second album of the On paper compilation features two artists also presented on CD1: b.Z_ToneR and
Vitor Joachim. The four remaining projects are @c, Longine, Pedro Tudelo and Return.
CD2 offers about the same atmosphere compared to CD1, though with a little more song structure. Warm
electronics have been combined with noises that seem to be created by means of contact mics, repetitive
structures co-exist next to unexpected scrapings. Songs are build upon a string of varying ways of making
music.?
Number 005 in the Crónica series proves the quality of this label.
05.2004 Phosphor.nl



Auslotung von Aggregatzuständen, ihre Beschreibung und Veränderung, und das alles in Sound. Das Label
Crónica aus Porto setzt auf Intermedialität, allen Widrigkeiten wie »zu arty« und »zu offensichtlich« zum Trotz.
Diese formschöne Doppel-CD-Compilation österreichischer, deutscher und portugiesischer Klangkunst hat
das Papier zum Thema. Sozusagen eine Brücke zwischen den Cut-Ups auf Papier und deren akustischer
Abbildung. Nicht: Wie fasse ich mein Gedicht in Töne, sondern: Wie geschieht der Transfer der
»Restgeräusche« des Papiers auf eine musikalische Oberfläche? Kratzen, schaben, reißen, schneiden,... alles
wunderbare Soundquellen, die es per Mikrofon abzunehmen gilt. Dann aber sind diese Geräusche ihrer
Ursprünge eigentlich so beraubt, dass sie zu »freien« Klängen werden und die einzigen
Unterscheidungsmerkmale nur noch zwischen dem eigentlichen Gegenstand (Papier) und der Peripherie
(Stift, Mund, Stimme,...) auszumachen sind. Wenn es so etwas gibt wie das »originär Sonische« des Papiers,
dann ist es auch nach diesen 13 Beiträgen gut in irgendwelchen schwarzen Wissenslöchern verborgen, von
weiteren Komponenten wie räumliche und zeitliche Verdichtungen – also krümmen und zerknüllen – mal ganz
abgesehen. Und das trotz einer sehr guten Auswahl an Musikern wie Vitor Joaquim, Stephan Matieu, Pure und
Petro Tuleda. Allemal ein ambitionierter Sampler, der völlig unprätentiös daherkommt und nichts weniger im
Sinn hat, als Wissenschaft und Rock’n’Roll miteinander kurzzuschließen. Dranbleiben, Crónica verspricht viel
Gutes.
Heinrich Deisl
01.2004 Skug.at
http://www.skug.at/reviews/review_b.php?id=1983



Sobrement Intitulé "On paper", cette compilation élaborée par Pedro Tudela, armateur de Crónica records est
un rêve lointain , une méditation antérieure rendue possible et accessible par un travail laborieux et
passionné. Couché sur le papier, ses 13 compositions le sont: réfléchies, pensées, maturées; chacune
emprunte un chemin de traverse sur le parcours de l'initiation et de l'expérimentation.
Etrangement, l'idée, bâtie autour du "collage-décollage" (rien avoir avec les compilation Mille Plateaux) n'est
pas venue de la musique, mais de la sphère plastique/artistique. Inspiré malgré lui par les travaux de Villégié
et des Hackers publicitaires (lire No Logo de Naomie Klein), Tudela a récupéré des bribes et des lambeaux
d'affiches superposés et, en défini, par ce biais, une transposition musicale qui voit aujourd'hui le jour.
Il part de l1idée que cette superposition d'affiches, d'images, de publicités crée une grammaire visuelle, un
phrasé cohérent ou des concept donnent vie à d'autres concepts.
Musicalement, le travail de collage-décollage se transpose en un univers de séquençage et de soustraction
d'apports personnels à un ouvrage commun.
La part de chacun dans la composition se dilue dans l'échange et la transposition. Les interventions sont
multiples et dressent le panorama joyeusement chaotique de la production actuelle au Portugal: on retrouve
ici, Paulo Raposo, Vitor Joaquim, @c, Longina, [des]integração, b.Z_ToneR et évidemment Pedro Tudela, qui
composent le pré carré du collectif Crónica auquel sont venus s'adjoindre quelques illustres messagers tels
Pure, Pal, return ou Stephen Mathieu.
Fort intéressant.
12.2003 Jade.fr
http://www.pastis.org/jade/jade.htm



Il arrive de plus en plus souvent que les mondes de l'art et de la musique électronique se croisent et
s'influencent, que des plasticiens sonores soient invités à illustrer des expositions ou à l'inverse que ce soit
des démarches plastiques qui influencent leur propre pratique musicale. a des échelons divers, ces deux
approces sont représentées dans les deux doubles compilations Audiolab et On Paper.
(...) c'est une émotion esthétique ressentie par le compilateur Pedro tudela, alors qu'il travaillait sur une pièce
sur le collage et le décollage d'affiches, qui est à l'origine de la compilation On Paper. Partant de tous les
éléments du papier, sa plasticité, sa capacité de mémoire, son rôle de support d'information, les divers artistes
présents ont composé des titres où les drones et les craquements, les sons organiques et les compositions
électroniques rivalisent pour appréhender toutes les réalités distinctes d'une simple feuille de papier.
Jean-François Micard
11.2003 D-Side.fr



I'll leave the conceptual explanation of this double CD to its cover notes; suffice for me to say, this is mostly
obscure concrete/electronic/pulse music presented by Portuguese artists with some "famous" guest, like Pure
and Stephan Mathieu, whose highly personal sound is almost instantly recognizable in a group of pieces
tending to suburban hollowness and experimental practices. No easy task getting the goodies at first listen -
better still, I suggest listening to "On paper" through headphones to catch all the subtleties and the different
interesting artistic personalities, of which there's certainly no shortage here. While Longina's "On voice", with its
incessant beat, is maybe the most capturing track, I'd say I choose my "preferred ones" in the pair of @c and
b.Z_ToneR, whose use of space and sense of "waiting-for-an-accident-to-happen" gives something to fix with
our own ears.
http://www.touchingextremes.org
(it)



Parte-se então para novos processos de abstracção/concretização.
É precisamente desta dicotomia entre a abstracção e a concretização que vive a compilação On Paper. É que,
partindo de uma realidade concreta - o sample com papel a ser rasgado -, o seu processamento será sempre
uma abstracção em relação a esta, bem como a construção de uma nova realidade concreta. Em suma, uma
faixa que parta numa direcção mais abstracta em relação ao ponto de partida poderá também aproximar-se
de uma realidade musicalmente mais concreta (ou não).
O exemplo pode ser materializado pelas duas faixas de b.Z_toneR; "Let's Get Lost" atira para memórias
recônditas a sua génese para se aproximar de terrenos convencionais, enquanto que "In and Out of Love" tem
ainda os golpes desferidos no papel - sendo também uma faixa musicalmente mais abstracta. Na mesma
linha temos o tema de Stephan Mathieu, circular como o silvo de um carrossel envolto em algodão doce (os
rasgões andam lá longe, imperceptíveis). Com Vitor Joaquim acontece o mesmo, com o segundo tema, mais
incisivo e rítmico, a adquirir uma maior personalidade.
Queremos com isto dizer que On Paper ganha claramente nos temas em que a consciência harmónica, rítmica
ou até melódica toma os comandos, tornando-se quase invisível nos temas que se aproximem de realidades
conceptuais/ambientais/sonoplásticas - riscar a(s) que não interesse(m). 6/10
Sérgio Gomes da Costa
19.08.2003 Blitz.pt



Bizz Circuits Play Intifada Offspring



Bizz Circuits Play Intifada Offspring Vol. 1: Nishbar Li Ha
Mille Plateaux Media 
2004	

Rumors of Mille Plateaux's and Force Inc.'s demise are apparently (and partially) premature. Renamed Mille Plateaux Media, the German conglomerate has
resurfaced with a few fascinating and wonderful releases from the likes of Thomas Koner and, now, Sebastian Meissner, better known as Random Inc. and
Bizz Circuits. As Random Inc., Meissner created two of the high points of Force Inc.: Jerusalem: Tales from Outside the Framework of Orthodoxy and
Walking in Jerusalem. He changes monikers for this new work, but he does not change inspiration. Play Intifada Offspring is (as the "vol. 1" suggests)
the first of a proposed series of releases by (according to the liner notes) "artists from Palestine and Israel and other geographic regions who have
dedicated their work to the artistic deconstruction of the so-called 'middle-east conflict.'" 

This album is actually two very different works: one mix CD and one DVD of original videos by Israeli and Palestinian independent artists. On the mix
CD, Meissner basically takes a bunch of different artists' works and samples from them, collapses them together, and otherwise creates something new
out of them. This is similar to what he did on the first Jerusalem album, only there the focus was more on traditional music from only the Palestinian
and Israeli cultures. Here, the focus is on the kinds of alternative, hip hop, and electronic music that is created in cities all over the world. It
is interesting music, to be sure, but, really, it is Meissner's voice that stands out on the CD. It is his touch—the ability to transform
otherwise mundane or divergent sounds into cohesive works of art that he demonstrated on his earlier works—that makes this one worth hearing. 

I'm not a huge fan of spoken word music, and, since there's a lot of spoken word stuff here, I do find myself wishing for a few more beats and a few
less soapboxes. But even I'll admit that I was truly moved by some of the spoken pieces, especially the final, eleven-minute track, which features a
beautiful accordion serenade mixed with what sounds like industrial noise, aberrant conversations, occasional ambient piano and synthesizer sounds and
(midway through the song) a poem read (in English) about the horrors of life in the occupied territories is simply amazing. Together, these sounds
create a sense of this fractured part of the world that is rarely (if ever) reported: the juxtaposition of everyday life (living, working, eating) and
the fundamental unreality of life in a region torn apart by forty years of war. 

So the CD isn't perfect, but it has some pretty amazing high points. The DVD, by contrast, is extremely interesting, featuring all sorts of short
films and videos by Israeli and Palestinian artists like Ran Slavin, Elyasaf Kowner, Ran Aizenshtat, Ahuva Ozeri, among many others. Most of the
videos are comments on the violence in the region, but the nice thing about the works is that there's no uniformity here; each video is distinct from
each other. That makes watching these films much more entertaining than many other video collections I've seen recently (like the boring videos for
Rechenzentrum's Director's Cut). Let me give you two examples. The second video, "iL/L_paL (short cuts #1)" by Marc Flachmeyer and aUTOkoNTRasT, is a
fascinating collage of images and sounds from everyday life in Jerusalem (Meissner had a hand in the editing and the audio for this track), showing
images of guys fixing a truck, skylines, highways, hands, protest signs, guys processing CDs, and on and on. The soundtrack uses field recordings
mixed with other found sounds, like the sounds of elephants roaring and snippets of Arabic and Israeli pop music. By contrast, there's "intifada
offspring" by Ran Slavin, which features loops from a bad American TV movie, where a guy shoots at a bunch of cops, who are shooting back. The music
is the sound of the guns looped continuously, so that it creates a Ministry-like beat. In the end, the video loop changes to the guy being hit and
falling over and then, later, the same guy being punched in the face. What does this have to do with Israel? Well, if nothing else, it is a nice
reminder that violence is so much a part of American and western culture that the actual deaths of individuals in Palestine or Israel is not even
given a second thought by the vast majority of those for whom entertainment is a crime drama or a sporting event. 

In case you were wondering, the phrase "Nishbar Li Ha'Zayin" is Hebrew for "they broke my dick". It comes from spoken word artist Mar Mimavet, whose
work is sampled frequently on the CD. In a way, it's a perfect title for a work about a part of the world where the desires of the majority of the
people to live at peace are so uniformly and universally undercut by the extremists on both sides. This is a work of unusual timeliness that
proclaims, loud and clear, that there are Israe