Fresh from the DEI press-sheets:
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PITA
Get Out
MEGO029(B)CD / MEGO029(R)CD
[limited edition BLUE & RED cover art]
Long awaited follow up to Prix Ars Electronica 99 winning debut "Seven
Tons For Free" (currently awaiting second repress on Digital Narics). "Get
Out" was constructed on the Twisted harddisc in various locations around
the world. A more varied, complex affair than its predecessor with a couple
of surpises thrown in for absolutely no reason at all. Half the edition is
available in red, the other in blue. Please make your choice.
The Wire (October 1999)>>
With a hardcore attitude and approach to sonic manipulation that equals
peers like Autechre, Pan Sonic, and Merzbow, Vienna's Mego label has been
active at the cutting-edge of digital music culture for the past four
years. Hacking out their own, distinctive audio print, based around
abrasive tonalities, glitches and wrinkles, and skittering, abstract
structures, they operate across a variety of modern electronic media,
consistently pushing and interrogating the technology ñ searching out
spikes, cracks and creative spaces. The visceral grain of the sound and its
placement appear rigorously, obsessively worked. With Mego, you can
literally feel the quality, the difference.
Both a treat and trauma for the ears, "Get Out" sees Mego founder Peter
Rehberg in solo mode, opening out a varied collection of simmering
sound-scapes. Nine (untitled) tracks, totalling 38-minutes, move you
through a devastating, shifting spoor, through opposing poles of extreme
noise / quiet, startles and jolts, addictive hooks, stasis-tracks,
stumbling trip-ups and snags, flickering, alien ambience - making full use
of dynamics and the stereo spectrum. Eleven-minutes long, Track 3 works
gorgeous chord-run hooks through dense shrouds of scouring splinter-noise.
Space opens up, narrows back down as the jagged texture-layers expand and
contract, tweaking bass and treble. Like the white-out of MBV's "You Made
Me Realise", it hits you as an awe-full, jaw-dropping revelation, stopping
dead in its tracks without warning. A brilliant, concise study in
sound-design, structure and tweaked expectations, on "Get Out" every second
seems vital, every sound placed and bristling with life.
( WIRE)
(about 'Seven Tons For Free')
"Peter Rehberg a.k.a. Pita's first album, "Seven Tons For Free" was a
monumental piece which was decisive in the direction that Mego took as a
label thereafter. Devoid of any element of ornamentation, the album
featured endless repetitions of high frequency digital noises. Quite unlike
"minimal techno", all the sounds in this piece were reduced to pulse
signals, distorted to unheard of extemes. These sounds could have been seen
as the ruins, or maybe the corpse of techno. Along with albums such as
Panasonic's "Vakio" and Ryoji Ikeda's "+/-", this album came to be known as
a manifesto-like masterpiece."
(Atsushi Sasaki)
"..."buzzing" is the word for Pita's SEVEN TONS FOR FREE. The music is less
enslaved to rhythm, employing the same raindrop pitter-patter and piercing
frequencies as Ryoji Ikeda, infusing the patterns with a sense of natural
entropy. Short tracks, not a trace of predictability--or melody--and
stubbornly obtuse; Pita's formula sounds like a recipe for migranes but
plays out as a fascinating investigation of pulse waves and
electro-acoustics." (Magnet)
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p i e t r o d a s a c c o a u d i o - n i m b u s
9745 lynngrove cr, windsor, ontario, n8r 1b8, canada
http://www.rain.org/~audio/grooves/
grooves experimental electronics music mag