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Francisco López: Untitled # 180

While it has been less than one year since our most release by Francisco López we are pleased to present “Untitled #180”, our third release in López’ untitled series and fifth release with the artist. López has fashioned a phenomenal recording using source material culled from a dozen or so recent Hollywood blockbuster films.

Most aficionados of the musical avant-garde are already familiar with the expansive oeuvre of Madrid, Spain’s Francisco López. Over the years we have had the pleasure to release some of his most outstanding works, most notably the death metal onslaught of “Untitled #104”.

“Untitled #180” is perhaps López’ most playful and humorous release. While it features López’ trademark swells, bursts of pure sound and extended periods of silence, a unique element captured on this release is the predominant electroacoustic feel to the sound. This has a lot to do with the sound sources, short samples borrowed from blockbuster motion pictures. As a result many of the clichés of both the world of academic electroacoustic music and film sound effects are beautifully exploited on this recording.

Listening to “Untitled #180” with adequate volume is quite a mind-bending experience. With it’s juxtaposition of slience and extremely dense sound one is left with an impression similar to the works of composers such as Carl Stalling and Raymond Scott’s works for cartoons or perhaps the music of Pierre Henry, but with the undeniably powerful touch of López. “Untitled #180” is perhaps a reaction to how brutal the sound effects utilized in the film industry have become, with thx and surround sound and associate technologies the sound of car crashes, creatures, explosions or just sounds of every day life have become incredibly loud in the cinema setting. It is very easy to get a feel for this listening to segments of “Untitled #180”. There are moments on this recording that are absolutely over the top and the different sounds inspire so much mental imagery that is mind-boggling trying to follow the piece. In this respect, the near-slient passages are well earned.

“Untitled #180” is so special that it breaks the no art work rule of López’ untitled series with minimal artwork packaged in a plastic sleeve.




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