An eight part electroacoustic work composed of field recordings, electronic,
and metallic sound sources. A juxtapositioning of ambient sound forms and
subtle abstract sonic renderings. The work is in reference to volcanic activity;
to the Roman god of fire & metalworking; as well as the symbolism of both as
used in western esoteric alchemical tradition.
"This is a kind of movie for the ears... all edges are blurred, and we navigate
on the threshold of real/unreal... like being caught in an interzone where small
magnified details take us on a higher level of perception, perhaps
consciousness... sounds seem to emerge from some elemental crucible and
speak for their own... quite a haunted and evoking walk !"
(Daniel Crokaert - Mystery Sea)
and metallic sound sources. A juxtapositioning of ambient sound forms and
subtle abstract sonic renderings. The work is in reference to volcanic activity;
to the Roman god of fire & metalworking; as well as the symbolism of both as
used in western esoteric alchemical tradition.
"This is a kind of movie for the ears... all edges are blurred, and we navigate
on the threshold of real/unreal... like being caught in an interzone where small
magnified details take us on a higher level of perception, perhaps
consciousness... sounds seem to emerge from some elemental crucible and
speak for their own... quite a haunted and evoking walk !"
(Daniel Crokaert - Mystery Sea)
artist: DALE LLOYD
title: Vulcan Augmented
catalog number: and/1
release year: 2001
format: CDR
status: sold out
title: Vulcan Augmented
catalog number: and/1
release year: 2001
format: CDR
status: sold out
REVIEWS
ReR (NOVEMBER 2003)
A low key but subtle CD made, it says, from field recordings (I'm guessing and
hearing, including volcanoes - hence the title - and a lot of weather and wildlife),
electronic and metallic sources. Unfortunately, that's all it says; more information
would have been worth having. The sound and pacing makes you want to know
more. A successful and very atmospheric work that never loses its grip on the
material or the ear. (Chris Cutler)
A low key but subtle CD made, it says, from field recordings (I'm guessing and
hearing, including volcanoes - hence the title - and a lot of weather and wildlife),
electronic and metallic sources. Unfortunately, that's all it says; more information
would have been worth having. The sound and pacing makes you want to know
more. A successful and very atmospheric work that never loses its grip on the
material or the ear. (Chris Cutler)
ABSURD (DECEMBER 2003)
Dale Lloyd's "Vulcan Augmented" is another cdr that I enjoyed listening. It was
the first to listen to when I came back from my holidays and after having spent 2
weeks on the mountains of continental Greece, I loved the idea of a cdr that
brought in mind some of the most bizarre and obscure moments I lived there (a
feeling I was given also from the RSundin cdr). Dale uses field recordings,
electronic, and metallic sound sources to craft a really dense atmosphere, often
can be labeled as "ambient" or "electroacoustic" but on one hand is lovely
enough and on the other it was my second encounter with his work, the first
being "Like Ulysses" on Staalplaat's Open Circuit Series and I must admit that I
was flattered from the progress Dale has achieved since that work (which was
really dense and bizarre but was giving me the feeling that there was something
missing from its atmosphere). I guess if you are wondering which work of his to
use as a starting point, then it be this one. (Nicolas Malevitsis)
Dale Lloyd's "Vulcan Augmented" is another cdr that I enjoyed listening. It was
the first to listen to when I came back from my holidays and after having spent 2
weeks on the mountains of continental Greece, I loved the idea of a cdr that
brought in mind some of the most bizarre and obscure moments I lived there (a
feeling I was given also from the RSundin cdr). Dale uses field recordings,
electronic, and metallic sound sources to craft a really dense atmosphere, often
can be labeled as "ambient" or "electroacoustic" but on one hand is lovely
enough and on the other it was my second encounter with his work, the first
being "Like Ulysses" on Staalplaat's Open Circuit Series and I must admit that I
was flattered from the progress Dale has achieved since that work (which was
really dense and bizarre but was giving me the feeling that there was something
missing from its atmosphere). I guess if you are wondering which work of his to
use as a starting point, then it be this one. (Nicolas Malevitsis)
