Stephan Mathieu ‎– A Static Place

Label:
12k ‎– 12K1064
Format:
CD, Album
Country:
Released:
Genre:
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Tracklist

1 Schwarzschild Radius 10:00
2 A Static Place Ia 10:00
3 Minuet 10:00
4 A Static Place II 20:00
5 Dawn 10:00

Companies, etc.

Credits

Notes

Composed between December 2007 and October 2010 using early 78rpm records, mechanical-acoustic gramophones and computers.

Edition: 1000.

Barcode and Other Identifiers

  • Barcode: 898339000644
  • Matrix / Runout: WWW.BELLWETHERMFG.COM 7205-12K1064-CD + + K004904
  • Mastering SID Code: IFPI LB41
  • Mould SID Code: IFPI 1036
  • Rights Society: MCPS

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
MIN29 Stephan Mathieu A Static Place(2xLP, Album, TP, W/Lbl) Minority Records (2) MIN29 Czech Republic 2012 Sell This Version
MIN29 Stephan Mathieu A Static Place(2xLP, Ltd, Cle) Minority Records (2) MIN29 Czech Republic 2012 Sell This Version

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Headphone_Commute

Headphone_Commute

July 4, 2011
edited over 6 years ago
Stephan Mathieu has been on my radar for a while now. His 2008 release on Die Schachtel titled Radioland had a profound impact on my psyche. Then there was his 2009 collaboration with 12k‘s own Taylor Deupree for a release on Spekk titled Transcriptions. In 2011, Mathieu managed to release two albums – there’s the Remain on Line (now independently operated by Richard Chartier), and, the focus of this Sound Bytes special, A Static Place. To listen to Mathieu’s latest marvel, I have to prepare myself. First – I carve out an entire hour to wholly consume the album in one take; second – I put on my favorite pair of headphones for a true sonic bliss; and third – I must close my eyes. “A Static Place is about the journey of sound,” says Mathieu about the record. “Between 1928 and 1932 the earliest recordings of historically informed performances of music from the late Gothic, Renaissance and Baroque era were etched into 78RPM records. I used some of these records from my collection, playing them back with two mechanical acoustic HMV Model 102 gramophones. The initial soundwaves produced back then by period instruments like the clavichord, viols, lute, hurdy-gurdy are read from the grooves by a cactus needle to be amplified by the gramophones diaphragm housed in a soundbox. Those vibrations travel through the tonearm which is connected straight to the gramophones horn, which releases the music to my space. Here the sound is again picked up by a pair of customized microphones and send to my computer, to be transformed by spectral analysis and convolution processes.” I’m afraid I have nothing more to add… Pure magic…