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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Ten
Tone Rec’s music might sound like a serie of mistakes: each track has a line with starting and ending points, and between those moments anything can happen—and to echo Murray Walker, it usually does.
Take Pholcus as a starting point; the opener kicks off with some metronomic clicks immersed in a pulsing high-end noise before being abruptly interrupted by reverberating chimes and piercing drums. Subsequent tracks see tone changes, volume changes, the introduction of brittle snapping for percussion.
A track like Voice Onset Time consists solely of various grainy, looped drones intersecting over the course of 11 minutes. The loops are running in desyncronised ways to create unexpected rhythms. As an album, it keeps drawing you right into mix, as if the sounds are being generated inside your heart, then it’ll suddenly makes out as if the music is coming from several buildings away, the frequency of the sounds changing accordingly.
This is not some contrived mathematical lab experiment; neither predeterminated structural model, nor theoretical approach for the music. Much of the band’s music is basically a form of heavily deconstructed techno hardly inaccessible in its basic format, but highly innovative all the same.
From John Gibson’s Article Nov 1998 Newcastle UK
Take Pholcus as a starting point; the opener kicks off with some metronomic clicks immersed in a pulsing high-end noise before being abruptly interrupted by reverberating chimes and piercing drums. Subsequent tracks see tone changes, volume changes, the introduction of brittle snapping for percussion.
A track like Voice Onset Time consists solely of various grainy, looped drones intersecting over the course of 11 minutes. The loops are running in desyncronised ways to create unexpected rhythms. As an album, it keeps drawing you right into mix, as if the sounds are being generated inside your heart, then it’ll suddenly makes out as if the music is coming from several buildings away, the frequency of the sounds changing accordingly.
This is not some contrived mathematical lab experiment; neither predeterminated structural model, nor theoretical approach for the music. Much of the band’s music is basically a form of heavily deconstructed techno hardly inaccessible in its basic format, but highly innovative all the same.
From John Gibson’s Article Nov 1998 Newcastle UK
Tone Rec consists of Claude Pailliot, Gaëtan Collet, Noëlle Collet and Vincent Thierion. The group has so far produced three albums and two vinyls and appears on several samplers from the label "sub rosa." Most recent activities include video music for Seton Smith in Paris, taking part in the Mille Plateaux Festival, Berlin, and dat politics together with Christian Fennesz / Mego in Lille.