A new record!

From the Entr’acte site:

Keith Moliné
Crritic!
CD (E162)

Two interlocking pieces dedicated to Hans Keller,
Desmond Leslie and Lester Bangs.

I Only Asked uses an interview recording — questions only —
to modulate various sound parameters, and is a reworking of
a piece first performed at Café OTO, London in March 2011.

Hatchet Job is based on a computer speech recording of all the
negative reviews Moliné has penned for The Wire magazine in
the last ten years. These amount to around 50,000 words.

http://www.entracte.co.uk/projects/keith-moline-e162/

Release date: 11 November 2013

Review of ‘Ley’ at The Sound Projector

On Ley (ENTR’ACTE E125), we hear the team-up of trumpeter Andy Diagram and Keith Moliné. The album is a stitched-together jumble bag of rags and oddments, and has a foreboding complexity and denseness you wouldn’t believe. They started with recordings of their own improvisations performed with trumpet and guitar (and tubes, bowls of water and other miscellaneous items) which were pretty idiosyncratic to begin with – they did it in the back garden with no amplification, and tried to enact that form of disconnect that is so valuable to creators, to get away from self-consciously “creating art” or evade the over-familiar patterns of playing. Then the recordings were subjected to further malarkey from programs running on Moliné’s computer. Along with the original recording data, he threw some “wild” data into the mix, apparently derived from digital image files and text files. This practice, by which I mean the repurposing of JPEGS, TXT and other non-audio file formats into something which an audio editing suite can process or play, seems to be cropping up quite a few times lately, so maybe it’s starting to enter the lingua franca of experimental music. On Ley, the process may not be directly used to generate sounds, but it has been used to trigger certain digital instruments and contribute to the overall process. This has resulted in a listening experience that is extremely chaotic and unpredictable. I do like the fact that Moliné’s method has blurred the edges almost completely between real-time improvising and post-hoc computer mayhem, and there are sound events taking place in the fabric of this music that are almost shockingly unfamiliar and strange. At the same time, I’m hard pushed to find any logical train of thought in these compositions; it’s as if the “wild” elements have taken over for 90% of the time, and the computer’s errant patterns of behaviour are guiding everything, making sonic mincemeat of the material. Put a madman behind the wheel of a very fast big truck, and wait for the fun to start. With this two-pronged approach to randomness, this pair are certainly trying to take aleatory composition to a new level, even at the expense of creating a rather indigestible music.
Ed Pinsent, thesoundprojector.com