artist: HERIBERT FRIEDL
title: Raumzitate
catalog number: and/17
release year: 2004
format: CDR
status: sold out
title: Raumzitate
catalog number: and/17
release year: 2004
format: CDR
status: sold out
This is the first release by Austrian sculptor/sound artist Heribert Friedl. This
five part work of fractured soundscapes subtitled "...to reserve the necessary
space" evokes a sense of spatial perception without the use of familiar points
of reference such as human voices or footsteps. The word "raumzitate"
translates in English to something akin to "room quotations."
five part work of fractured soundscapes subtitled "...to reserve the necessary
space" evokes a sense of spatial perception without the use of familiar points
of reference such as human voices or footsteps. The word "raumzitate"
translates in English to something akin to "room quotations."
TOUCHING EXTREMES (SEPTEMBER 2004)
Raumzitate is a brief essay on microsounds by Viennese Heribert Friedl,
whose work is centripetal towards silence - itself an important factor in these
pieces. Observation and purpose yield a series of sonic fingerprints which
stand alone or accompanied by suggestive faraway drones, like in a
fascinating segment of the final track "Proposal". The crumbling of patterns
juxtaposed with these distant evocations are always of interest, while the
rippling hiss of certain separated frequencies work well when listened amidst
the sounds of the outside world, provided it's not a noisy urban ambiance.
Friedl seems to know where his direction is and I'm willing to trust him for
future elaborations: for sure, there's more than glitches and pops under here.
(Massimo Ricci)
Raumzitate is a brief essay on microsounds by Viennese Heribert Friedl,
whose work is centripetal towards silence - itself an important factor in these
pieces. Observation and purpose yield a series of sonic fingerprints which
stand alone or accompanied by suggestive faraway drones, like in a
fascinating segment of the final track "Proposal". The crumbling of patterns
juxtaposed with these distant evocations are always of interest, while the
rippling hiss of certain separated frequencies work well when listened amidst
the sounds of the outside world, provided it's not a noisy urban ambiance.
Friedl seems to know where his direction is and I'm willing to trust him for
future elaborations: for sure, there's more than glitches and pops under here.
(Massimo Ricci)
VITAL WEEKLY (SEPTEMBER 2004)
Debut release from this Austrian sculptor/sound artist, of whom I know nothing
else. The work is subtitled "...to reserve the necessary space" and since the
title can be translated as "room quotations", everything here deals with the
spatial quality of sound. It's hard to tell what it is exactly that he does here, but
let's assume that Friedl is using field recordings which he processes with a lot
of computer techniques. That sounds like a lot but in fact, Friedl plays on the
edge of softness here. A sound sounds for a while, and then it dies out, some
new sounds come in, dies out, silence etc. But each new sound that comes in,
shows a distinct development to the previous sound. The sources are only
used sparsely, maybe like the recording of a rolling marble or the sound of a
door being closed. Friedl's work comes close to that of Richard Chartier, Marc
Behrens or Roel Meelkop, but is even more, and yes, that is possible, more
austere and silent. In that respect there is nothing new under the micro-sun,
but nevertheless the material is interesting enough by itself. A most promising
start. (Frans de Waard)
Debut release from this Austrian sculptor/sound artist, of whom I know nothing
else. The work is subtitled "...to reserve the necessary space" and since the
title can be translated as "room quotations", everything here deals with the
spatial quality of sound. It's hard to tell what it is exactly that he does here, but
let's assume that Friedl is using field recordings which he processes with a lot
of computer techniques. That sounds like a lot but in fact, Friedl plays on the
edge of softness here. A sound sounds for a while, and then it dies out, some
new sounds come in, dies out, silence etc. But each new sound that comes in,
shows a distinct development to the previous sound. The sources are only
used sparsely, maybe like the recording of a rolling marble or the sound of a
door being closed. Friedl's work comes close to that of Richard Chartier, Marc
Behrens or Roel Meelkop, but is even more, and yes, that is possible, more
austere and silent. In that respect there is nothing new under the micro-sun,
but nevertheless the material is interesting enough by itself. A most promising
start. (Frans de Waard)
E / I MAGAZINE (WINTER / SPRING 2006)
In Friedl's Raumzitate, slap-back pointillism and faux-instrumental extensions
trade time with frontline drummerly textures that are respiratory without being
explicitly rhythmic. A Vienna-based "sensory artist" (famous for using
fragrances in his installation work), here Friedl paints with crackling timbre,
often able to sustain taut interplay well longer than he has right to.
"Raumzitate" must mean "hail on a tin roof," "Bayle in a reticent mood," "prop
planes outside and overhead," and stark, "matter-of-fact" sonic punctuation
performing syntactic acrobatics. The difference over materially similar works
by RLW or Stephen Vitiello is the difference between dialog in space and
monologue in a vacuum. The tracks do not develop as much as reveal their
structure; it is a rare gift that Friedl understands the durations required for such
revelation and does not extend his compositions beyond them.
(William S. Fields)
In Friedl's Raumzitate, slap-back pointillism and faux-instrumental extensions
trade time with frontline drummerly textures that are respiratory without being
explicitly rhythmic. A Vienna-based "sensory artist" (famous for using
fragrances in his installation work), here Friedl paints with crackling timbre,
often able to sustain taut interplay well longer than he has right to.
"Raumzitate" must mean "hail on a tin roof," "Bayle in a reticent mood," "prop
planes outside and overhead," and stark, "matter-of-fact" sonic punctuation
performing syntactic acrobatics. The difference over materially similar works
by RLW or Stephen Vitiello is the difference between dialog in space and
monologue in a vacuum. The tracks do not develop as much as reveal their
structure; it is a rare gift that Friedl understands the durations required for such
revelation and does not extend his compositions beyond them.
(William S. Fields)
