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LP
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AMIRW 037LP
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"The seventh installment in the Required Wreckers series. Primordial Forms is Forté's most demanding and conceptual work to date. Forté has always been intrigued by the visual representation of sound on the computer screen. Editing software depicts sound as 'waveforms' which can look like jagged landscapes or abstract geometric forms. For the five pieces that comprise the record, Forté created five one-second sounds on his computer based purely on the visual appeal of the waveform. He made these waveforms with the speakers off. These visually appealing forms became the seeds for the pieces on the record. With the speakers turned back on, Forté then turned these discrete sound units into long form music through a slow and deliberate process of looping, editing, and manipulation. The entire record was made in a pirated version of Sound Forge from the late 90s. No sequencers or multi-track programs were used and no real time playing occurred on these tracks. Forte's compositional process can be likened to cartoon animation, or Muybridge's photographic innovations capturing movement and motion. Forté is one of the most innovative and overlooked figures in contemporary experimental and extreme music, though those aware of his discography recognize the arch and foundational significance of his work. From Rorschach to Raspberry Bulbs, and more importantly in his solo releases on Schematic, Soft Abuse, Sublight, Wodger and Catholic Tapes, Forté is one of the most versatile and rigorous musicians working today."
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CD
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SCH 034CD
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"Nick Forté is from Brooklyn, but geographically speaking, his music falls somewhere between his living room (which he seemingly reconstructs in his visual design of Pasted Lakes) and Twin Peaks. He is half of the duo called Christmas Decorations whose recent album Model 91 on the Kranky label crept quietly into many charts and CD players late in 2002. Pasted Lakes is the remains of Nick's first foray into computer music, an album which may never see the light of day. From its' remains, he took scraps and reassembled them in an somewhat random manner, recycling and remolding them until they bore no resemblance to their source and took on a form of their own. Forté used old punk and hardcore records like the first Wire album, early Minutemen records, and Renaldo and the Loaf as inspiration -- but more as a guide than anything else. These albums did not lend influence sonically or musically at all, but towards pacing, structure, attitude, and sequencing. For Nick, these groups had really terse and impacting songs, and he wanted to apply these ideas to electronic music as much as possible. Musically, there was not much outside influence upon Pasted Lakes because he was heavily remixing himself, and 'really just trying to entertain myself at 3am by making new and strange sounds I had never heard'. Forté admits that if anything had an effect on his sound, it was his apartment. Hearing things like boiling water or rickety pipes and figuring out how to capture those ideas comes across in the record's faux yet life-like textural themes. In Nick's own words: 'The best music to me is dead serious but also really funny, so I started to go for that with Pasted Lakes.' The title of the record is more of a description of a style of song construction then anything, making finite pools of sound, and slapping them together with joyous reckless abandon. Cut, paste, listen, and save."
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LP
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SCH 034LP
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