HR128 - blackhumour - penetration - C60 — 1989
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Side A:
flesh unspoilt by age inside josephson junction |
Side B:
tab to block bicuspid von neumann's neighbourhood no lust for the wicked the whole world with a personality |
REVIEW by Jerry Kranitz
blackhumour is the alias under which Canadian artist Frazer Hall records. His work is characterized by the use of human voices only. As the credits indicate: Human voice only, digital and analog editing, no reverb, no effects, no speed or back-masking.
Just human voices… pure voice collage, and the results are fascinating. With 17 named and an undetermined number of unidentified voice sources, Hall creates collage passages like what so many artists experimented with, though others typically include them as part of or supplemental to electronics and effects. From rhythmically and harmoniously garbled crowds to straightforward conversations and everything in between, Hall mixes, manipulates, and massages his source material in various intriguing ways. Normal speech morphs into dizzying swirls, voice drones, oscillating voices, ping-ponging voices, turn-on-a-dime cutting from one conversation to another… some of it seems to challenge Hall’s claim that there are no effects, so kudos to his tape manipulating mastery. This is a fun C60. Give it your undivided attention with ‘voices only’ in mind.
blackhumour is the alias under which Canadian artist Frazer Hall records. His work is characterized by the use of human voices only. As the credits indicate: Human voice only, digital and analog editing, no reverb, no effects, no speed or back-masking.
Just human voices… pure voice collage, and the results are fascinating. With 17 named and an undetermined number of unidentified voice sources, Hall creates collage passages like what so many artists experimented with, though others typically include them as part of or supplemental to electronics and effects. From rhythmically and harmoniously garbled crowds to straightforward conversations and everything in between, Hall mixes, manipulates, and massages his source material in various intriguing ways. Normal speech morphs into dizzying swirls, voice drones, oscillating voices, ping-ponging voices, turn-on-a-dime cutting from one conversation to another… some of it seems to challenge Hall’s claim that there are no effects, so kudos to his tape manipulating mastery. This is a fun C60. Give it your undivided attention with ‘voices only’ in mind.