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undRess Béton -
Artist info
undRess Béton

undRess Béton

undRess Béton

undRess Béton. suRRealist sound research & unpatterns. unRecordist methods squeeze the Caballé Voltage 'suRRism will make you find the gap' or "Welcome to Jaan Patterson's playful dystopian radio; whose Dada and I-Ching infected station-dial alights upon portmanteau scenes of horror-Punk and appropriated speech, where fractured field recordings and malevolent synthesisers prowl. Patterson's work is Read more on
undRess Béton. suRRealist sound research & unpatterns. unRecordist methods squeeze the Caballé Voltage 'suRRism will make you find the gap' or "Welcome to Jaan Patterson's playful dystopian radio; whose Dada and I-Ching infected station-dial alights upon portmanteau scenes of horror-Punk and appropriated speech, where fractured field recordings and malevolent synthesisers prowl. Patterson's work is, by now, vast and numerous, and goes way beyond the usual slue of blithe laptop cut-up and Conceptualese. This is feral electronica at its best." -Anthony Donovan (Murmurists) in March 2010 "Stuckhousing Quantum Gums/ A symphony of composed innovations/ Jaan Patterson is one of those rare individuals you come across once in a lifetime who is an innovative and multi-talented master at his chosen field of creative expression/ In this case the composition of passages of sound/ music/ noise/ voice amounting to the construction of an acoustic symphony of visionary extremes/ Not only does he compose/invent the words and “play” all the instruments but produces a final composition that is way ahead of anything else you are likely to hear in his chosen field/His latest work 'Stuckhousing Quantum Gums' is a cross disciplinary exploration of the mythic chthonian forces of contemporary culture and its environment/ As was the Futurist Marinetti to the 20th Century Jaan is an aggressive intellectual phenomenon of the 21Century/ Jaan works within a theoretical and practical framework that seeks to expand the concept of the musical realm using and manipulating a wide selection of sounds/tones/percussive syntax/electronic keyboards and diabolical effects to achieve this effect/ He manages to mould and compose this prodigious orchestra of sonic possibilities into an acoustic heterogeneity of audible pulses pushed to its outer human limits/Jaan Patterson uses noise to make music and music to make a synthetic production of infinitely subtle chromatic refrains/ One must not underestimate the inherent difficulties in maintaining a composition of this complex nature/precise and yet at times bordering on the chaotic/ Great skill is required to fill a passage of music with so many potential orientations/ Be prepared to be confronted with the marginal limits of what might be heard if listened to with imaginative resolution/ From the sparse intensity of the opening passages devising a strained viscosity/a tensity of sounds almost at breaking point/ percussion enters the mix/ the pace increases and pulls away to enter the galaxy of innumerable noise additions/ snatches of ghostly voices/ partial spaces of almost silence fade/ contorted electronics force their way across the membrane of sound puncturing and rupturing the process of “listening” to what might be heard next/ At times the music is primal in its textures creating its own genetic formula as a coda that repeats itself thru out the composition and contributes to maintaining coherence/ if such a state is desirable for we must bring an open mind to the apprehension of this music/ Moving thru tribal beats radically processed/ A certain fragility exists in parts of the composition which is placed against the machinic tones of metal psychodelia/ The mind reels under the attempt to keep pace with the ferocity and paradoxes of the work/ The sacred and the profane present themselves as a dialectic of inserts and intervals drawn from the history of classical and popular music/ Static as parasite vies with sonorant synthesizer notes and the almost operatic background of vocal seductiveness/ The playing with depth and space in the composition is formidable as a technique/ At times the mixing of the sounds foregrounds a particular fragment then suddenly fades it to silence only to replace it with an other enigmatic vocal or insistent instrument/ a trace coming from complex origins bringing with it a sequence of thoughts/images/words/ a rationality of infectious dis-harmony/ ”..that sound can you believe it with their noise pollution”/ The listener is constantly moved from sound to noise to sonic invention of the audible/ The composition seems about to end several times but there is no closure/ Schema follows refrain/ Words dominate the latter part of the work but what are we hearing?/ Words as direct meaning elude the listener/ Several listenings piece together a narrative of recombinant potentials/ Did I hear reality?/ Was that the word “dissipation”?/ Knowing what is not the point/ We are traversing a continent of provocative new sounds that defy explication/ This is what makes the work unique and original/ This composition is a fascinating exhumation of the possibilities of what the ear can hear and the mind is able to think of as image/How does it end?/ Abruptly/ One thing is certain/ Jaan Patterson is the Quantum Mechanic of the new symphony of sonic intellectual activity/ This composition brings about an indispensable revolution in the world of sound and word/" -Lee Kwo (Bizarre Device) in April 2010 "Under Notorious SONIC effects/ undRess Beton Tarentailogy Defloration this music these sounds and noises this orchestration of often intangible moments of hellucinatory sound images are at the edge of the abyss of catastrophe/The GAP between the synapse firing its chemical reactions flooding neuron blood and cells with reactions and fractures of memory from interstellar voyages violates the perspective of expectations to hear the ordinary beats and re-mixes of contemporary music compositions/ So what happens when we turn on the machines of Jaan Patterson and giving them no instructions set sound information free to express its economy of circuitry?/ What happens indeed/ In jaans own words " I provide technical support of instructions of bypassed spontaneous happening compressed into smoking illusions of rampant dissonance in which the impossible music is the basis of my intention and being/ I document the environment and express the myriad of found collages of sound and feed them into the machine to see what happens/ Improvision and extroversion are they only limitations I bring to the creation of my polyphonic compositions" I make my inner journeys that I can only measure with my emotions "/ If information is pattern then randomness is non pattern/ the complexity of these tracks combine the two phenomenon in a paradox leading order/disorder to a greater level of complexity/ jaans music is a series of informational pulses creating intense anxiety that erupts when the perceived limits of the ear are breached/ I am becoming human sampler so as to undermine and colonise from within the dominant icons of music culture and then to deform and distort them into becoming the strange and enigmatic/ Sound bordering on catastrophe threatening to rupture the smooth and unbroken surface of the otherness of music/ To morph with my machines into the rampant technique of synthetic sonic dissonance has infinite consequences and exposes the ear to the inflections of the space of sacrificial violence of noise becoming sound/ a trajectory of hellucination/ Intervals and strange swarms of silence/ each stop or interval enacts a closure of the composition that is both unexpected and unintended/ The machine begins and ends under its own volition/ I am a servo mechanism flicking switches and pushing sliders/ Indifference as a conceptual cognitive act drive sounds to pass through the chaotic perilous oscillation that something else is about to violate the sensibility of the as yet unheard/ There is a tension of expectation which loops through tracks creating a coherent aesthetics of technique/ What cannot or does not want to be heard?/an impatience with speed the taste for the velocity of the syntheziser at times is overwhelming/ accelerating into the imaginary future of cyborgs and alien beings/ The syntheziser illuminates the molecular structure of the tones and notes being executed/ We often hear what is happening at the sub atomic level/ The music of the Spheres is almost audible/ In Stellar Gum we hear the slow drone of the machinic post industrial vocal datatrash fading in and out of atomic solary latancy/ A throbbing depth anonymous until now seeps away into a leakage of ruptured attack and decay/ Sounds collide and collude in symbiosis of notational conspiracy/ the ear is stretched to the limits of hearing/unable to escape the assault of sound emeshing in a hovering fade out of a single enigmatic signal/ In track two Steve Handsome Bite piano traces out the melodic foreground to creshendo of strings slashing the track moving it towards reckless percussive interruptions/ and becoming more than an excess of locomation dies away to metallic percussive edge of resonance with swarm of energy which haunts the objects of performance/ Re-sounding drums flood the aural landscape with explosive dynamic of analogue floating time within pulsed digital time/ Exist Not/ multiple snare repeats echo chamber of marching feet who have long been silent salvaged from the wreckage of electric circuits/relies on insistent beats in the distance of resonant bass fills the sonic mechanism of noise reproduction/ Menda Is Back/ Cuban back beat radio signals the womens voices call from across the Atlantic ocean to the Islands of unknown acoustic terrain under the enigma of transparent distortion fills the gap of becoming noise ratio is zero intensity cut-up by oblivion of space empty of velocities circle of synthesizer codes/ Prudentia of Null/ drowned in the matter of swarms of synth tones fill the empty space with howl of electric human humm mantra chants the hieroglyphics of ancient silence wrought eating away the rust of elastic voice stretched to the depth of anonymous contrapuntal intoxication of rhythmic interludes/the poetry of motion/ Cluster of Grapes/ The elements of the dream I would like to sleep to stop the conscious rhythm of the preceding nights dream and will it be continued tonight /Violins falling in the moonlight not exposed to greater degrees of erratic drum machine to chorus of heartbeats remembered during the hours of waking/ Son of Doing/Gypsy violin solitude to Road Debris of cars on the autobahn/we recieve a message of noises and we respond in codes of electric current under trombone lead rhythm method taps out timing to point of delirium/ the refuse of the unknown sounds accelerate into an unknown future of crashnoise and empty spaces of limitation murmuring collapse of drum beats strike at the strings of cello/Tarentaliogy Defloration/ Locomotive percussion overwrought by loops of sonic drones into blinding scales of sun/ a taste for envelope follower to decay into thirst for orgy of blasted love collides and nothing is prohibited on the celestial paino noisy as the body itself settles as warning signs to escape impact on the suffering ears limit to jagged edge of analogue dialogue/ It just never begins/" Lee Kwo Visit: Read more on

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