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blackhumour 'selected pieces'

by blackhumour

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1.
and do what 07:29
2.
arbitrary 05:11
3.
4.
incantatory 35:50
5.
le mot juste 06:50
6.
revision 17:44

about

the source material for half of these pieces derives from a much storied stay in denver, colorado, winter 1991.
inspired by the material provided by a.m.k. and g.x. jupitter-larsen for their 'two modest guys' project, i went around town with a modest field recorder documenting people saying 'i like being happy. i like being satisfied'. focused at that time on 'exploding the joke', i'd provisioned the material for a still-unfinished piece entitled schultz is dead.
by the mid 1990s i decided it was entirely appropriate to create a series of pieces from different sources with the express goal of making them all sound the same - as smooth and 'textureless' as possible. the 'schultz' material loaned itself very well to that entreprise. by the late 1990s, i had succeeded to a rather frightening degree. (the 7" vinyl release of 'stutter' documents this period; oter material remains unreleased).
'arbitrary', 'banquet of gravel' and 'revision' are all branches of that family tree, related but independent. the remaining pieces use different source materials and tend to follow their own trajectories.
'and do what' uses the voices of various bh interviewees documented anywhere from 1985 to 1998 to consider the subject of indebtedness. 'incantatory' used the voice of a florida-based hypno-dominatrix who graciously donated the source material.
'let mot jouste' uses the voice of a new york-based belle vivant who was kinder to the blackhumour project than was called for, or wise.
the pieces themselves all date from around 1996 to 2002.
as with all blackhumour audio, simple digital and analog editing and collage techniques were used to create the pieces.
thanks to nicolas for the release of this material.

credits

released September 1, 2015

about blackhumour

since 1983, blackhumour audio has used the sound of found object spoken human voice - no effects, no reverb, no speed- or back-masking - to create a four-dimensional poetry.
blackhumour's concerns are abidinly literary. participants are encouraged to listen to the work in that spirit.
'just like that', susan urged her husband bill.
nudity is always optional.
no stopping here to finish.

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all rights reserved

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about

noise-below Thessaloniki, Greece

outsider musics and other children's oddities from northern (thessaloniki) and continental (amphissa) greece

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