Dot Side: Already gone, and yet nowhere near to memories – October Songs
Stripe Side: Science for the Poor – break – Six Million Years
Source material: my tapes and my micro-cassettes
The track on the Dot Side, Already gone, and yet nowhere near to memories – October Songs was originally made on request of the artistic director of the Tsonami Festival in Valparaiso, Chile. It was broadcasted by Radio Valentin Letelier during the festival days. You can still find it on-line in this podcast.
Science for the Poor which opens the Stripe Side, was a contribution for the Tilde New Music Festival 2015. I followed a call for works that would be played in the restrooms. Restroom is a word that doesn’t immediately link to bad smells and embarrassing noises, and, for this reason, the use of it is a better way to attract sound works. That, once they have arrived, would be played in the public toilets of the festival building. I have no idea if it happened or not, because there is no mention of such on the website.
Consequently the above mentioned works have a slowly developing narrative. For the radio piece I used lectures and readings on regular intervals to suggest a storyline. I inserted music that would sound familiar for those listeners who had landed by accident on the FM frequency of Radio Valentin Letelier. In its strangeness, it is not too strange nor too harsh. I wanted listeners to stay and listen and make them feel comfortable.
For the restroom piece I thought of the coming and going of people, the usual sounds, small conversations and maybe some sounds coming in through a window. I played with the various perspectives, made voices sound upfront, whirled in classical music, had some far away sounds, in order to create an acoustically unbalancing situation. But probably it was just weird sounds played over small speakers, that most of the time were hardly audible. Sound Art.
Six Million Years might be inspired by the granite rock formations I see everyday here at Porticello Castle in Calabria. It is said they are the oldest in the world. You won’t hear it in the track. I used almost exclusively recordings made on micro-cassette. The use of a dictaphone player with pitch control and the four-track made it possible to work on various layers. Maybe it is collage and cut-and-go. It is noisier and more energetic. Six Million Years was meant for this tape.
For the packaging I continued a new style commenced with Midori Hirano’s release for staaltape, And I Am Here. I could experiment with the printer, because it finally had new cartridges. (I need to ask someone to take them from the nearest metropole, Tropea. The surrounding villages have no need to sell it.) Most of these tapes will be sent out to friends. Also complete or incomplete strangers can get a copy. Buy it, trade it for a book you read, for some tea or a t-shirt, an old cahier maybe. I have made eighteen copies. Maybe you understand why I go by small numbers. Next in the production line is the third edition of Midori’s tape. After that one more releases for staaltape need to be copied and packed.
Update 11 January 2016.
New copies with different artwork will become available before the end of this Winter.
The work has been reviewed three times.
FdW says in Vital Weekly :”It’s quite a some story he tells here, perhaps not along strict narrative lines, but more abstract poetic lines. You recognize a sound, and sometimes you don’t and all along Van Alebeek transports you in a most curious coach trip. Think Luc Ferrari, but then much more lo-fi.”
Ed Pinsent says in The Sound Projector :”In case I’ve never likened this composer to Joseph Cornell, now seems an appropriate time to do so. I don’t just mean the collage technique; Cornell was adept at awaking a strange nostalgia in the audience, and not just through the use of “old” source materials in his collages, boxes, and films; he was somehow able to tap into past history directly, and fetch back fragments from his voyages that caused instant heartache when seen. Often, one feels a nostalgic longing for experiences that never even happened. Is this even possible? If you’ve ever felt similar strange sensations in the face of beautiful and inexplicable art, Rinus van Alebeek will make you feel at home.”
Telemaco Greco says in Sands-zine :”Benedetto Rinus!!! I suoi lavori non sono fatti soltanto per essere ascoltati, al loro interno ci trovate sempre qualcosa da apprendere.”