released March 23, 2016
„I studied electroacoustic composition where I learned the essentials of how to manage material. I spent a lot of time in the studio developing my skills for fixed media, fixed composition, but now I am far more interested in the recording situation, than the result of the actual ‘composing’.“
Adam Asnan is a sound artist based between London and Berlin. His electroacoustic works and performances promote the aesthetic potential of recorded amplified sound, the auditory ‘image’ and the virtues of spatialisation. He focuses on a variety of listenable forms; architectural impressions of space (un/real), site-specific sounds, extended techniques in acousmatic diffusion and the implementation of resonant metal.
Carriers, PA is collection of sound studies using two different techniques:
Carrier (I-III) – Two interconnected ring modulators, recorded directly from the ‘carrier’ outputs – the internal signal used to modulate an external signal against, controlled with a potentiometer. For some reason, it bore a lot of inexplicable effects to that signal when patched in a particular way.
PA (I-III) stands for phantom artefacts. It was a technique of sending phantom power to a device that also offered phantom power (which was powering a stereo pair of mics) and the subsequent ‘electro-static’ sounds that it would produced, and various recordings of amplified hum and detritus.
“I very rarely use analogue synthesis, so this collection of studies is quite unique, despite being produced a number of years ago. I have come to really adore many aspects of these recordings, such as their intricacy and energy, and sense of malleability, and that the two types, (Carriers, PA) play well together, but were never intended to“.
Adam is one third of VA AA LR with Vasco Alves and Louie Rice, and has previously collaborated with artists such as Luciano Maggiore, Bryan Eubanks, Enrico Malatesta, Attila Faravelli and Giuseppe Ielasi.
artwork: Miroslav Žolobanič
design: Zoltán Czakó, Jakub Juhás
released by mappa as MAP02
The concept is relatively simple, but efficiently developed: utilizing acoustic disfiguration and modified apparatuses as a rich palette for (literally) psychotropic gratification. No pathetic symbolisms, no fanciful tricks. Just the right amount of cerebral stimulation, with several truly great discharges to be zapped by… Massimo Ricci (Touching extremes)
There is the more static approach of the three ‘Carrier’ pieces, loudly humming, and the varied crackles from the ‘PA’ pieces. There is somehow, somewhere a ‘live’ feel to the material, I think, making this all a little less composed… Frans de Waard (Vital Weekly)
Of course, there are many buzzing textures resembling the sound of transmission lines and other similar phenomena. Asnan peculiarity is that he’s a great sound engineer, recording exactly what is most valuable for later listening… Ilia Belorukov (Современная музыка)
Apparently this work was made several years ago using analogue synthesisers, a technique which Adam rarely works with these days. The two different series – named Carriers and PA – were not intended to be played side by side, but he finds to his own surprise that they work very well together. Very good!.. Ed Pinsent (The Sound Projector)
There’s more sense of a organic consciousness at work in the PA trilogy, in which Asnan corrals what sounds like a shed-full of electric motors, handheld fans and other noise-generating kit into a subtle, whirring mix. This stuff is closer to conventional electroacoustic improvisation, I guess, but Asnan’s flair for arrangement means all those images of serious young men frowning as they flick switches on a tabletop full of gear while other serious young men stand around and watch it are mercifully absent… Paul Margree (We need no swords)