Fuzzboy | Manipulated Field Recordings With Li'l Marshall

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Electronic: Experimental Avant Garde: Musique Concrète Moods: Mood: Intellectual
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Manipulated Field Recordings With Li'l Marshall

by Fuzzboy

Solidly rooted in the tradition of musique concrète, Fuzzboy recorded a synthesizer toy in its native habitat, turning it introspective and occasionally spooky through computer processing. Each package is hand-made and uniquely numbered.
Genre: Electronic: Experimental
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  Song Share Time Download
1. 2006-12-17
19:27 $0.99
2. 2006-12-27
20:36 $0.99
3. 2007-01-13
10:48 $0.99
Downloads are available as MP3-320 files.


Album Notes
Fuzzboy is the experimental / ambient / industrial musical group that consists of Dan Bornstein (aka Danfuzz) and his equipment. The group has been producing music — albeit sporadically — since 1988.

Manipulated Field Recordings is Fuzzboy's first full-length release, and it celebrates the addition of a Thingamagoop to the group's equipment lineup.

The three lengthy pieces on the album (two clock in at about twenty minutes each, and the other at about ten) cover a range of territory: The first has the feel of a guided tour through a bizarre factory. The second is reminiscent of a jaunt through a field of mechanical crickets. The third has a lonely city feel to it, with ominous overtones.

The unifying aspect of the work as a whole is that the songs were all produced in the same manner: Li'l Marshall the Thingamagoop was set up out in the open in various positions / environments (never in a studio) and recorded live for several minutes at a time. The recordings for a particular piece were made on a single day (for which the piece is named). Then, over the course of several days, the various recordings were filtered, manipulated, and mixed, only rarely being looped or repeated. The three acceptable results of this process were included in the album.

It might be classified as merely "musique concrète," "ambient experimental," or "traditional industrial noise," but however you want to file it, the album is proof that neither strong tonality nor a ubiquitous beat are required for music to move one's soul.



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