|
|
|
|
|
|
|
|
|
|
|
12"
|
|
K2 033EP
|
"According to Saussure (1857-1913), a sign is composed of the signifier (significant), and the signified (signifié). These cannot be conceptualized as separate entities but rather as a mapping from significant differences in sound to potential (correct) differential denotation. The Saussurean sign exists only at the level of the synchronic system, in which signs are defined by their relative and hierarchical privileges of co-occurrence. It is thus a common misreading of Saussure to take signifiers to be anything one could speak, and signifieds as things in the world. In fact, the relationship of language to parole (or speech-in-context) is and always has been a theoretical problem for linguistics (cf. Roman Jakobson's famous essay 'Closing Statement: Linguistics and Poetics' et al.). He is also important in emphasizing that the relationship between a sign and the real-world thing it denotes is an arbitrary one. There is not a natural relationship between a word and the object it refers to, nor is there a causal relationship between the inherent properties of the object and the nature of the sign used to denote it. For example, there is nothing about the physical quality of paper that requires denotation by the phonological sequence 'paper.' There is, however, what Saussure called 'relative motivation': the possibilities of signification of a signifier are constrained by the compositionality of elements in the linguistic system (cf. Emile Benveniste's paper on the arbitrariness of the sign in the first volume of his papers on general linguistics). In other words, a word is only available to acquire a new meaning if it is identifiably different from all the other words in the language and it has no existing meaning. Structuralism was later based on this idea that it is only within a given system that one can define the distinction between the levels of system and use, or the semantic 'value' of a sign. That much on the topic of semiotics. The Rice Twin's music talks for itself. Please file under emo-house."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
K2 026EP
|
"Sorry to disillusion you, but The Rice Twins aren't twins or even blood-related, although as individuals the two Swedes Valdemar Gezelius and Jesper Engström do sound very much alike. Their melody-rich tracks have always been quite opulent and exaggerated in the most likeable of ways. We start with the piano-opera 'Can Say,' a complete public display of thrashing out the possibilities of the technically manageable. You get the impression that more denseness in harmony can't be more audible than here. A bathing for a surging crowd on the dancefloor. 'Goatee' on the B-side is a little bit more transparent, but not less unconventional. A strange beat, graceful harmony. Call it a Nordic melody. As up north, they're free."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
K2 016EP
|
"The marvelous Rice Twins are Valdemar Gezelius and Jesper Engström who hail from Sweden. We know them already from their brilliant debut 'For Penny and Alexis' on Speicher 33. Both of them have a unique ability to conjure exuberant melodies and in a refreshingly unabashed way, place them inside functional dance-beats. Take the tracks 'For Dan' and 'Rome' -- these two pop-techno tracks provide more than enough evidence to support this theory don't they? 'Poppers' sets off recalling a classic Kompakt track from our early releases. On which spools a cosmic harmony in which it's far too easy to lose your ground. Just imagine yourself spinning in a circle with eyes closed and suddenly stopping still. Spin baby."
|