artist: JOS SMOLDERS
title: Habitat
catalog number: and/20
release year: 2005
format: CDR
status: sold out
title: Habitat
catalog number: and/20
release year: 2005
format: CDR
status: sold out
and/OAR is very pleased to present a new work by Dutch sound artist Jos
Smolders, who is also known as one of the founding members of THU20 (along
with Roel Meelkop & Peter Duimelinks). This is Smolders' first release in a
long time to not use sounds exclusive to electronic sources.
Sound sources include field recordings from Sweden and Norway,
combined with sounds from the street where Smolders resides. The result is
an ionized mixture of organic progressions and soundscapes.
At times, this release displays energetic jolts of adrenaline tempered with
intermittent moments of late night contemplative quiescence. Abstract and
surreal Escher-like moments appear into distant view like a half remembered
dream, and acoustic and electronic Moebius sound strips suddenly launch
without warning.
This is the first and/OAR CDR release using 2 color silk screen printing on the
disc. Unfortunately, the true silver/silver discs cannot be used as before, but
the disc company has assured that these discs are of the highest quality.
Smolders, who is also known as one of the founding members of THU20 (along
with Roel Meelkop & Peter Duimelinks). This is Smolders' first release in a
long time to not use sounds exclusive to electronic sources.
Sound sources include field recordings from Sweden and Norway,
combined with sounds from the street where Smolders resides. The result is
an ionized mixture of organic progressions and soundscapes.
At times, this release displays energetic jolts of adrenaline tempered with
intermittent moments of late night contemplative quiescence. Abstract and
surreal Escher-like moments appear into distant view like a half remembered
dream, and acoustic and electronic Moebius sound strips suddenly launch
without warning.
This is the first and/OAR CDR release using 2 color silk screen printing on the
disc. Unfortunately, the true silver/silver discs cannot be used as before, but
the disc company has assured that these discs are of the highest quality.
REVIEWS
TOUCHING EXTREMES (OCTOBER 2005)
The acoustic ecology of Jos Smolders manages to refresh the listener's brain
through a sapient dosage of silence and events in a sort of sonic chemoterapy
delivering us from residual particles of predictable manifestations. These sounds
are best enjoyed in a silent environment, with just a modicum of external activity
coming to enhance them, in order to be able to define their position not only in the
surrounding space but also in that precise moment of your existence; street noises
get filtered by effects, becoming an ever changing solution of fluorescent colours
and concrete digital grains, the whole in a continuous struggle against
predetermined shapes. Morphing voices of animals and humans are refracted in a
thousand directions, yet they always remain within earshot, blending and fusing in
shifting dynamic relationships with semi-organic external activities, thus
reinforcing these soundscapes' evocative appeal. Everything sounds perfect in this
veritable documentary; Smolders confirms his silent, steady growth as an
assembler of suggestions. (Massimo Ricci)
The acoustic ecology of Jos Smolders manages to refresh the listener's brain
through a sapient dosage of silence and events in a sort of sonic chemoterapy
delivering us from residual particles of predictable manifestations. These sounds
are best enjoyed in a silent environment, with just a modicum of external activity
coming to enhance them, in order to be able to define their position not only in the
surrounding space but also in that precise moment of your existence; street noises
get filtered by effects, becoming an ever changing solution of fluorescent colours
and concrete digital grains, the whole in a continuous struggle against
predetermined shapes. Morphing voices of animals and humans are refracted in a
thousand directions, yet they always remain within earshot, blending and fusing in
shifting dynamic relationships with semi-organic external activities, thus
reinforcing these soundscapes' evocative appeal. Everything sounds perfect in this
veritable documentary; Smolders confirms his silent, steady growth as an
assembler of suggestions. (Massimo Ricci)
IGLOO (AUGUST 2005)
A sideline symphony for the street. Sounds like cars whizzing by in the rain, lots of
contemplation, space, space, space. Jos Smolders, a graduate of the collective
known as THU20 (back to the mid 80s), reveals a softer, deeper side of his senses
on Habitat, an acoustic outing. Become a passive outside listener to indoor goings-
on, draw wisdom from the wind, and bear in mind that when Smolders is ready, he
will take a most industrial turn, with a metallic varietal that he’s aged to perfection.
A majority of the beginnings here, “Nacht 3:30AM” and “Zondag” just float gently.
This is “lose yourself, headphone listening.” These vague field recordings of birds
in the distance and car doors and engines are spliced and repeated giving the
impression of a childhood history of open space and its man-made interruptions to
the balance of nature. It’s damn subtle (until “Beton”). The assorted percussive
noise actually sounds like a writhing, heavy-breathing organism. It’s more intricate
and awkwardly self-aware than caustic noise for the sake of it. More like the
choreography of electric friction, especially heard on “Arvika” which is a motorized
spring-like doorstop that just rips and purrs and moves so organically. The track
also boasts the howling of what could be boys in an old, cavernous school hallway.
This is a complex listen and may take several sittings to pick up the delicate
minutiae between the static and metallics. (TJ Norris)
A sideline symphony for the street. Sounds like cars whizzing by in the rain, lots of
contemplation, space, space, space. Jos Smolders, a graduate of the collective
known as THU20 (back to the mid 80s), reveals a softer, deeper side of his senses
on Habitat, an acoustic outing. Become a passive outside listener to indoor goings-
on, draw wisdom from the wind, and bear in mind that when Smolders is ready, he
will take a most industrial turn, with a metallic varietal that he’s aged to perfection.
A majority of the beginnings here, “Nacht 3:30AM” and “Zondag” just float gently.
This is “lose yourself, headphone listening.” These vague field recordings of birds
in the distance and car doors and engines are spliced and repeated giving the
impression of a childhood history of open space and its man-made interruptions to
the balance of nature. It’s damn subtle (until “Beton”). The assorted percussive
noise actually sounds like a writhing, heavy-breathing organism. It’s more intricate
and awkwardly self-aware than caustic noise for the sake of it. More like the
choreography of electric friction, especially heard on “Arvika” which is a motorized
spring-like doorstop that just rips and purrs and moves so organically. The track
also boasts the howling of what could be boys in an old, cavernous school hallway.
This is a complex listen and may take several sittings to pick up the delicate
minutiae between the static and metallics. (TJ Norris)
VITAL WEEKLY (AUGUST 2005)
It's been a while since Jos Smolders has released a CD, but when he does it is
spot on. This release from and/OAR fits the label perfectly well. All tracks are based
on field recordings done in the past years. Smolders has not been known to work
much with field recordings as such, let alone exclusively, so this is somewhat of a
debut. Then again, after putting the disc in and hearing muffled sounds from the
street it doesn't take long for electronics to almost take over completely. I presume
these electronic sounds are all based on the original recordings. The disc features
8 tracks, three of which seem to function as intermezzo's (between tracks 1 & 3, 3 &
5, 5 & 7) and the last one as a sort of finale (it's called coda). But since there are no
real breaks between the tracks, it's not something that is directly heard. Okay, so
much for the layout, now to the content. This CD is surprisingly full and rich in
colours, textures and dynamics. All tracks are constructed very carefully and
display Smolders' abilities to the maximum without a doubt. I have rarely heard
such extreme make over of acoustic sound without it's identity getting lost in that
process. Smolders works around this problem all the time, juxtaposing the different
material in such a way that one always somehow knows that these are essentially
acoustic sounds. And that is very well done. Compositions are very well done as
well, always ensuring a certain tension that keeps the listener activated. My
conclusion is simple: this as a great CD! Jos Smolders still rules. (Roel Meelkop)
It's been a while since Jos Smolders has released a CD, but when he does it is
spot on. This release from and/OAR fits the label perfectly well. All tracks are based
on field recordings done in the past years. Smolders has not been known to work
much with field recordings as such, let alone exclusively, so this is somewhat of a
debut. Then again, after putting the disc in and hearing muffled sounds from the
street it doesn't take long for electronics to almost take over completely. I presume
these electronic sounds are all based on the original recordings. The disc features
8 tracks, three of which seem to function as intermezzo's (between tracks 1 & 3, 3 &
5, 5 & 7) and the last one as a sort of finale (it's called coda). But since there are no
real breaks between the tracks, it's not something that is directly heard. Okay, so
much for the layout, now to the content. This CD is surprisingly full and rich in
colours, textures and dynamics. All tracks are constructed very carefully and
display Smolders' abilities to the maximum without a doubt. I have rarely heard
such extreme make over of acoustic sound without it's identity getting lost in that
process. Smolders works around this problem all the time, juxtaposing the different
material in such a way that one always somehow knows that these are essentially
acoustic sounds. And that is very well done. Compositions are very well done as
well, always ensuring a certain tension that keeps the listener activated. My
conclusion is simple: this as a great CD! Jos Smolders still rules. (Roel Meelkop)
SMALLFISH (JULY 2006)
A beautifully constructed set of tracks that, once again, feature a lovely array of
field recordings as the basis for most of the pieces. Whether it's city noise, whining
wind or droning scapes, there's clearly a lot of love that's been put into gently
manipulating the recordings to give them an added dimension. Occasionally there's
a foray into a more noise-based and aggressive style, but these are sporadic for the
most part and really add a level of aural punctuation that works really well. As
always with this form of experimental electronic music you have to really get into
the mindframe to get the most out of it, but once you click with it it'll give you hours
of extremely soothing entertainment. (Mike Oliver)
A beautifully constructed set of tracks that, once again, feature a lovely array of
field recordings as the basis for most of the pieces. Whether it's city noise, whining
wind or droning scapes, there's clearly a lot of love that's been put into gently
manipulating the recordings to give them an added dimension. Occasionally there's
a foray into a more noise-based and aggressive style, but these are sporadic for the
most part and really add a level of aural punctuation that works really well. As
always with this form of experimental electronic music you have to really get into
the mindframe to get the most out of it, but once you click with it it'll give you hours
of extremely soothing entertainment. (Mike Oliver)
