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LP
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PE 024LP
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Magda Drozd is deeply concerned with listening in her artistic practice. Her second album, 18 Floors, Drozd focused on the apartment building she called home for several years, compiling a corpus of field recordings in and of the building, which she approached as a living organism rather than static material. The result challenges current assumptions about living together in urban settings. The field recordings were woven into eleven speculative tracks consisting of sounds including violins, guitars, synthesizers, drum machines, and Drozd's voice. The music moves between sound art, ambient, indie rock, and R&B. 18 Floors presciently emphasizes the importance of the home, which has become glaringly obvious in the age of Corona. Her foresight constitutes her avant-gardism as much as her preference for documenting what might be over what actually is. The result is an album that creates a space for what is transient, uncertain, and unstable. And it creates a space for opportunities, which is needed now more than ever. Liner notes by Salomé Voeglin. White vinyl; edition of 400.
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LP
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PE 018LP
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The title of Magda Drozd's debut album, Songs for Plants, goes beyond the invocation of an unusual implied audience and indicates her desire to challenge conventional listening experiences. Plants have been central to the writing-process of the eleven-song LP by the musician, artist, performer, and curator. Drozd's sound palette includes synthesizers, field recordings, a violin, guitar, her own voice, and recordings of cacti, the latter of which were made using the latest recording technology that allowed Drozd to render audible the sound of the prickly pear for example. In this way, Drozd raises questions about authorship while she also shows up the absurdity of the relentless pursuit of new sonic sources in contemporary experimental music. All this leaves Drozd with a highly poetic album located somewhere between experimental electronics, ambient, off-pop, and dub techno. Tender and abrasive at times, she manages to combine the melancholic, critical, hopeful, and distanced -- as if Grouper, Jan Jelinek, The Space Lady, and Hieroglyphic Being got together to re-record Alec Empire's Low on Ice (1995).
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