antboy06 - CHARLIE CHARLIE presents "La Respiration des Saintes"

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'La Respiration des Saintes'.
antboy 06
Mini CDr  €5

CHARLIE CHARLIE presents 'La Respiration des Saintes' ; a studio composition that uses walkmans, speakers, dictaphones, radio, objects, microphones and cheap concrete sound...
The duo of CHARLIE CHARLIE work together with an idea that is related to the deformation of the reality of sound. Both artists use very basic materials to make the primary reality of the sound become something else, to create a sound that defies the origins of the materials they use.                                                                       
A big part of their music is to work and deal with the thoroughly gritty and dirty sound of their chosen materials, as well as working with repetition, text/voice and the minature details of sounds.


'The Australian percussionist and improvisor Will Guthrie currently resides in Nantes, France and collaborates with sound artist and writer Erell Latimier in CHARLIE CHARLIE. Their debut La Respiration Des Saintes develps approaches first essayed on Guthrie's startling solo recording SPEAR. Guthrie's recent work has felt obsessively edited and La Respiration Des Saintes is no execption: there is a fantastic, almost brutal logic to Charlie Charlie's editing. Though Guthrie and Latimier come from differning fields, their recorded output resembles the same jolting starts and juxtapositions as musique concrète. Latimier dirties and devolves her cassette recordings of speech and found sound, paralleling Guthrie's deformation of his percussion junk kit'.

Jon Dale


'A 3-inch containing a 13-minute devastating blitz on your sense of aural security by Charlie Charlie, a duo operating at the margins of our nervous health who produce their own exquisite blend of piquant musique concrete through altered recordings and cheap sources. Dramatically juxtaposed, all sounds are a bunch of incidental activities, foreign language speech, soft spots and destructive cacophonies which need no refining work to maintain their expressive uproar; it's like being in silence, at school or in a library, and suddenly being attacked by an "acousmatic violence squad" with wrecking balls'.

Massimo Ricci


'I don't know who Charlie Charlie are. Two people, as near as I can ascertain, but googling revealed no more. That's OK. It's not too important and I'm sure Will or someone will clue me in. Worth knowing is this fine, dirty, scuffling 3" disc, all 13:45 of it. "La Respiration des Saintes" (lovely title) is an assemblage of tapes, radio transmissions, rude noises large and small, tied together in a blocky fashion that has a kind of slithery logic, though one all but impossible to explain or analyze. The voices, generally faint and difficult to understand, act as a kind of string on which everything else is glued; noise composition as rock candy.

It begins with one of those disembodied voices though that's swiftly buried under an avalanche of toppled objects, beaten metal and tinny drones. Just as quickly, the cacophony is sucked up into silence, several of the transmissions left hovering, diaphanous, in its wake. More metal, now paired with static glitches, some noise that might have emanated from a guitar, all lurching forward, occasionally even hurtling (the metallic beating from the initial section poking its head up now and then, imparting a hint of rhythm), until it smacks up against the next roadblock. The ghost voices are still there, along with bowed metal, other detritus. There's a kind of Beckettian plodding onward, stop and start, impelled forward in spurts, pausing for breath, back at it. Listened to closely, "La Respiration des Saintes" is bracingly exhausting, a mini-marathon through an eerie, desiccated territory, ending in a harsh place.

An excellent recording, highly recommended, especially for those who enjoyed Guthrie's "Spear".'

Brian Olewnick