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au/ timeoff.com.au

:: DISCOM ::
AUTOMOTO
(Deco)
3 / 5
Seriously abstract electronic albums can often appear to be remote
and impenetrable - the very nature of their sounds inhuman and
untouchable. But from the opening moments of Discom's Automoto, you
realise this album wants to explore something different. Made up of
seemingly hundreds of layers, in which all manner of source sounds
have been treated and processed, this disc is like a good abstract
painting. To make sense of the whole you need to stand back and
understand how each musical brush stroke influences and impacts on
the next. Some may find this a tough listen, but really it's all
about positioning yourself within the sounds and then gently letting
them wash over you.
- LAWRENCE ENGLISH

be/

Discom_
Automoto
cd
Deco
03/2003
**
Achter het project Discom en het vanuit Parijs opererende label Deco gaan
dezelfde twee mensen schuil, Lionel Fernandez en Erik Minkkinen.
Discom is niet gemakkelijk te plaatsen, maar zeker geen eenheidsworst dus.
Geluiden worden met diverse manipulaties (waarvan het zelf ontwikkelen een
tweede passie is) tot maffe en geinige bliep en beeps. Deze geflipte
elektronische elementen worden op een ogenschijnlijk willekeurige manier aan
elkaar geregen. Maar daar waar bij andere elektronica knutselaars het
resultaat richting soundcapes gaat of resulteert in hectische noise zit er
bij dit duo toch een zekere rode draad in de collage. Men knip en plakt de
geluiden tot er iets van verknipte maar zoete melodieën ontstaan in de
nummers.
De plaat komt dan ook vrij vlot over ondanks het chaotische karakter van de
nummers. Avant-garde pop is een acceptabele beschrijving die de lading dekt.
Maar het blijft toch eerder een plaatje in de experimentelere hoek dan een
ligt verteerbaar album. (tom **)

cz/

de/ -10 articles here

 

es/

fr/ pastis.org/jade

DISCOM Automoto
(Deco/Chronowax )
La doctrine de Discom (Erik Minkkinen et Lionel Fernandez ) gravite autour d’une définition bi-polaire de l’électronique. De même que le jour et la nuit s’exaspèrent de leur perpétuelle alternance, la part de sauvagerie analogique contenue dans les fibres de Discom n’a de cesse de se laisser tirailler par des phases d’ascensions mélodiques et d’accalmies créatrices tout au long de cet "Automoto ".
Cette équivoque a pourtant l’avantage de créer une réelle discussion, entre le refus de céder au facile d’une part : les plages expérimentales exprimant pour partie cette prise de position. (l’envie de vivre la pratique musicale comme une mode d’action plein et entier).
De l’autre, la fondamentale envie de communiquer , de livrer une gamme de sentiments étagée entre la douceur et la quiétude.
C’est dans l’équilibre entre ces deux forces que leur musique s’épanouit. La subtilité de cette communion doit autant à son ramage qu’à son plumage. L’expérimentation poussée des sons, la recherche de nouvelles sonorités instables, d’eurythmies précaires, de consonances branlantes sert toujours le traité de départ et néglige de ce fait toute auto-congratulation conchiée.
Même si l’approche n’est pas toujours évidente et rejoint les travaux des Farmer Manuals à l’occasion, ils laissent facilement leurs compositions se délier de manière ludicielle (façon Skipp record ) ou évanescente (Formoll).
Une musique qui simule le caractère changeant de tout un chacun, entre colère et instant de joie, entre réflexion fournie et relâchement intellectuel souverain. De l’irréel intact dans le réel dévasté.
NB : Soulignons le graphisme impeccable de rigueur, où les lignes droites fluides, toniques et colorées prennent à l’occasion la tangente.
JJ
http://www.pastis.org/jade

it/ 5 articles here

nl/ gonzo circus

ru/ S&v may03 (.pdf)

se/ moving hands

Discom "Automoto"
Format: CD/Album
Online date: 3/4
Label: Deco
Genré: electronica


Discom is the experimental electronic project of Lionel Fernandez and Erik
Minkkinen. Releasing their music on their own label Deco, Discom can afford
to do what they want to do without label meddling. Not that I see any need
for meddling, nor believe in some great label conspiracy to streamline bands
within this genre.
   The album is made up of all sorts of sounds and noises – “chewing gum
sounds and bubble cracks, marshmallow high frequencies” and more, mostly
used sparingly in a “less is more” fashion. This album is playful, enjoyable
and innovative. But it takes time to get into it. I listened to it three or
four times before I got it. You need to take a step back with this album and
try not to listen to really hear what it’s like. Put it on and do something
else. I don’t think there’s any other way to explore it. Then you can go
deeper into it to find all the beautiful things to be found. Of course there
are parts more and parts less pleasing to ones ears.
   If you want to listen to music and just enjoy that, fine. Skip to “Code
colour”. It’s a fantastic song, beautiful in many ways. Bouncy and loud,
melodic and uplifting. But you’ll miss out on all the good stuff that comes
before that. Like “Palladium/Love Ultrabrite” and the soft fading of
“Aeromexicofluo” which sends shivers down my spine. “Formoll“ gives me a
feeling of a machine waking up, looking around itself and telling the world
of the wonders it sees. There's really a lot of thing to be found, if one is
willing to give it the time it takes.
   All in all, this is a well-rounded album. Experimental not for the sake
of it but for the sake of finding a unique sound and feel for Discom to make
their own. And it’s a good feel.
/Fredric Düring

 

uk/ absorb.org

discom are duo lionel fernandez and erik minkkinen who release their work on their own label, founded in 2000: deco. they are prolific on the touring front, having played at sonar (in 2000), and alongside such artists as jamie lidell, fennesz, nobukazu takemura.
working at the more experimental end of electronic music, discom take the usual linear approach to musical production and turn it on its head or more precisely, punch it full of holes until it is as fractured as a doily held up to the light. melodies are audible only in their glitchy remnants: they pop, splutter, break up and shatter like splinters, as if you are hearing them through the disconnecting headphones of a neighbouring passenger on a train. you can marvel at the ingenuity of such musical sleight of hand, the fact that discom are able to harness and utilise their technology to create such elastic textures and popping frequencies, but it takes patience to listen to a whole album of it. just occasionally i was left wondering what would happen if one of these potentially playful melodies were left intact for more than half a second, whether it wouldn't actually enrich the fractured material that was left through creating contrast. but this is obviously not what discom are interested in; it's as if they have taken their love of pop, of bubblegum melodies and blown them up until they've exploded, leaving only shreds in their wake.
(5) - reviewed by elizabeth wells
www.absorb.org