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naar​/​voor

by Jin Sangtae & Tim Olive

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1.
Track 1 20:30
2.
Track 2 19:01
3.
Track 3 13:32

about

Jin Sangtae - computer hard drives, radio
Tim Olive - magnetic pickups, tape

Recorded in Kobe, April 2014
Three tracks, total length 53:04
Glass-mastered CD, hand-stamped recycled paper chipboard cover
Mastered by Jin Sangtae
Catalog Number: 845-7

Recycle and repurpose. Jin Sangtae, organizer of Seoul’s long-running dotolim concert series, gainfully employs cast-off computer hard drives as sound sources; Tim Olive uses electro-magnetic pickups to give voice to consumer/post-consumer objects. Recycled chipboard packaging, hand-printed with a very repurposed rubber stamp.

credits

released July 22, 2017

Mark Wharton, Idwal Fisher:
On naar/voor Sangtae’s hard drives explode like distant stars, their countless shattering fragments dissolving like crackling R Whites fizz. It’s not all out war by any means, though: Olive compliments with his magnetic pickup/Heath Robinson string neck filling out the sound and making this a win/win collaboration. Track one begins in such a way then descends in to near silence, the only sounds audible being monitor buzz and the muffled chatter of information channels before the flickering emergence of shortwave radio stations. The second track rattles like a broken washing machine giving you the opportunity to hear Sangtee’s broken hard drives close up and while it never reaches the extremes of his solo work [what I’ve seen and heard at any rate] the sounds are intense in their own way with enough space and clarity for eager listeners to pick out every tiny detail. Which is pretty much how the last track goes too, a fluttering glitch ridden ride where digital meets analogue, the crunching of ones and zeros, whoops and spirals, high hertz sparkle that disappears into emptiness.

Frans de Waard, Vital Weekly:
Here we have three lengthy pieces, fifty-four minutes in total, of some great music. They cover the entire dynamic spectrum, with lengthy passages being all loud and brutal, but also going all quiet, and all of this in a very fine collage-like approach, cutting in and out of the mix, going from zero to one hundred, as it were. There is some excellent beauty in this brutal work; brutal but not necessarily very noisy, I would say. It makes you start listening differently to the world around you, I guess (maybe providing you never heard this kind of stuff of course); at one point
I thought my disc was slipping in the machine, but it turned out this was part of the bigger picture. Lovely stuff, beautiful poetics of the ordinary world in a new context.

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