Telectu ‎– Theremin Tao

Label:
SPH ‎– SPHCD001
Format:
CD, Compilation
Country:
Released:
Genre:
Style:

Companies, etc.

Notes

Compilation of unreleased tracks from 1982-1992, presented in reverse chronological order.

Barcode and Other Identifiers

  • Matrix / Runout: SPH-CD-001 13 A1

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June 4, 2012
According to the cover, TELECTU are a Portuguese couple who began back in 1982. JORGE LIMA BARRETO here plays piano, keyboards, percussion, electronic percussion & wind instruments, while partner VICTOR RUA plays guitar. bass, clarinet & copes with the sound engineering. They have had an interesting career, exploring Experimental Rock, Mimetic & Minimal music, Electro-Acoustic music & Jazz, and have worked with the likes of CHRIS CUTLER, CARLOS ZÍNGARO, ELLIOT SHARP & SAHEB SARBIB. Their music tends towards artistic soundtrack, perhaps reflecting their work in theatre, cinema, performance & poetry. To me, the reviewer, their music - while not unique - fits into the area I'd describe as my favourite - a sort of post-Concrete Avant-Garde Electronic soundscaping which is strong, spicy food to the fertile imagination. Their peers are such people as NÉGLIGÉ-ELECTRONIC UNDERWEAR, closely related to THOMASIUS, SCHNITZLER & STROSCHEN with nods towards the likes of CERTAIN ANTS. The root influences here, it seems, are in such 20th Century composers as VARESE, STOCKHAUSEN & CAGE, yet TELECTU manage to pull free of literal influence & carve their own shapes & compositions, some formed, some shattered & distended, creating a wide variety of audio images which, if compared to paintings, might range from POLLOCK to KLEE & beyond.
As there's no track listing, I can only list impressions to add weight to the above comparisons. Surreal floating sounds; short wave noises, high-pitched cymbal sounds; sizzling electronics; pitch-altered noises shifted in abstract sequential arpeggios; whistling sustains; squeaking metallic noises in need of oil; watery ghost whispers from within glass pipes; cracking as of Ice Floes breaking; shimmering, muted glimmer clouds; phasing atmosphere like machine-inspired gas; bass sustained sequencers rising through pearl-strings of glimmer; calcified percussive patterns hint at Ethnic influences while wild, almost mid-pitch feedback noise swathes the structure in it's strange material; composed, structured, dramatic, semi-classical sequential bass sound rises to create a Cubist stepped impression of mechanical waves while other sounds add to & counter the linear aspect; sustained machine-like swells of crystal glitter; delicate, high sequential jingles, distant factory whine with running water; deep, resonant patterns through which insect noise grows & fades; more glittering geode-like sketches; 'found' sounds of human passage given a wet Super-Realism through reverberation while light, glockenspiel-like sounds ripple in spider's web patterns; long sustains of shrill high-pitched (insect?) sounds; gentle, almost NYMAN-like pattern moving in minimal grace; wild sequential patterns become massed noises become fairground music become computer chatter become arcade game music while 'found' sounds enter & leave, presumably at random, evolving into more & more complex soundscapes; flowing bass sequence suggests heavy bodies moving underground while a variety of different sounds, like sped-up tape sampled & reinterpreted into a more musical context, layers over the top, creating a strange but fitting soundscape, reminding me of 70's Electronic Music. All in all, this shows you only the briefest glimpse of their sound, a mere hint at what they sound like. A recommended album for those into the previously-mentioned groups & composers.

Originally reviewed for Soft Watch.