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Thread: Paul Dolden

  1. #1
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    Paul Dolden

    Paul is an electro/acoustic artist that has some releases on the great label Emprientes Digitalis. His MO is massing and layering many instruments on top of each other to create a huge monolith of sound. Best with headphones but the Youtube video below will give you an idea of what he sounds like. I recently revisited the four albums I own from the guy and was pleasantly plastered against my headboard for their entirety!



    best
    Michael
    If it ain't acousmatique-It's crap

  2. #2
    I have only one track from Paul on some EM compilation and that is Veils. Still, I would say that I would go to excellent Fayman/Fripp collaboration or, say, some Grassow extravaganza like The Fountain Of Remembrance for similar experience. In the musique concrete field, Robert Normandeau is one of the artists that impress me.
    Last edited by Azol; 11-10-2013 at 01:12 AM.
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    Thanks for responding! Veils is probably the most sedate piece he has done, but it still manages to sound cavernous. Have you heard the whole thing? It's in 3 parts and in total lasts about 28 minutes.

    I think I did a pretty shitty job describing this guys music, quite frankly I've never heard anything so full and dense sounding, ever! Others say it better than me...

    " His electroacoustic pieces are in fact meticulously notated, massively multi-tracked compositions of acoustic instruments, with parts numbering in the hundreds — creating the paradox of acoustic compositions impossible to perform live. " Jermey Owen Turner

    ...and Dolden himself...

    "If I were to place the “Dolden orchestra” of 400 performers in one room, it could get as loud as 200 dBa and you would be instantly deaf. However, I produce recordings in which each person is recorded one at a time. When assembled together, I play it back at normal listening levels. Because of the density and post-production techniques, the music may seem louder than it actually is. The ability to make a recording appear louder than the actual decibel level is the Holy Grail of every commercial music engineer. For example, the kick drum in popular-music recordings sounds like the huge orchestral bass drum, and yet somehow maintains the fast articulation of a normal kick drum. Another sonic illusion is in the recordings of guitar amps that sound twenty feet tall, yet behave like a plucked mandolin. Cutting through both these sounds is the softly whispered lead vocal line, “I love your post-production techniques.”"

    This massive layering of sound is especially cool when he does it with voices...it sounds like the apocalypse, seriously!

    I've never heard the Fayman/Fripp collaboration or Grassow, but I need to check them out. As for Normandeau, absolutely!! He's amazing I think I know where I'm going next...thanks for bringing him up!

    best
    Michael
    If it ain't acousmatique-It's crap

  4. #4
    The Fayman/Fripp collaboration is the album A Temple In The Clouds, not electroacoustic (and I fear you might try to judge it by the rule of your signature line )
    http://www.youtube.com/watch?v=z344JWGain4

    Mathias Grassow is an ambient drone master (he did many other things besides that) and he got surprisingly dense and hypnotizing sound for his Fountain Of Remembrance album.
    I cannot find any good samples of that besides the link below (around 30 seconds), but make absolute sure to LOWER the volume in your headphones before starting previewing the 1st track!!!
    http://www.mclub.com.ua/vcat.phtml?a...s&album=251116
    After some 5+ minutes it comes almost to a standstill with complicated unmoving dissonating layers of sound for the rest of the 19-minute 1st track and you may feel like being encased in an ice block, immobile but ready to be bent broken... something like that. Completely mindblowing experience.

    Thanks for the info on Paul's technique that he employs creating these tracks - I was never aware of that! Probably should pull out the CD to listen to it again (it was http://www.discogs.com/Various-A-Sto...release/329608 by the way). You may want to check the CD1 or get the full compilation, the whole series presents some great tracks!

    P.S. Indeed, the version of Veils that comes with it is merely a 5-minute excerpt. But, on the other hand, 28 minutes of that would be pretty trying on one's ears and neighbours might call for the police
    Last edited by Azol; 11-11-2013 at 08:42 AM.
    "The world will soon be right again,
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    Hi

    That sig line was a joke because someone on this very site used it, but substituted the word "prog" instead :P

    Thanks for links for Grassow and the Fripp collab...and I got caught out by NOT lowering my volume...scared the bejeebus out of me! I'm listening to the Fripp soundscape now, looking forward to seeing how it develops.

    If the neighbors want to call the police...I call that a victory.

    best
    Michael
    If it ain't acousmatique-It's crap

  6. #6
    Thanks for posting Paul Doldens music. I've never heard of him, but now after listening to this you tube vid I have to check out more of his stuff.

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    Paul dropped another new release on Bandcamp today, this is a 20 minute epic for drum kit and pre recorded audio. After one listen I found it way to dense to unpack right now but I CAN safely say...I dig!!! Big time!!

    All the usual pieces are there...I think Paul plays the drums himself and it's some damn good playing but the pre recorded layered material is what people who have heard him can pretty much come to expect. Massive wall o' sound multi tracked brass, guitars, seems like alot of electronics, lots of what sounds like Balinese type mallet percussion, and of course all done using non-octave tuning systems.

    It's pretty intense.

    (for some reason I can't get this track to appear in a playable format but you can get to it on Bandcamp here:

    https://pauldolden.bandcamp.com/trac...g-synapse-2011


    best
    Michael

    late edit: The cost of download is 1 dolla Canadian or about 82 cents U.S. What's your excuse now!!!!
    Last edited by neuroticdog; 2 Weeks Ago at 04:53 PM.
    If it ain't acousmatique-It's crap

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    ^^^^^ I dig!!!
    "please do not understand me too quickly"-andre gide

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    Damn! My work computer won't play stuff anymore on Bandcamp for some reason. I'll have to check it out later...

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    Quote Originally Posted by neuroticdog View Post
    Paul dropped another new release on Bandcamp today, this is a 20 minute epic for drum kit and pre recorded audio. After one listen I found it way to dense to unpack right now but I CAN safely say...I dig!!! Big time!!
    That is some difficult listening right there. By the end I wasn't sure what the point was or why I had listened to it; just felt fatigued. But I'll try it a few more times.... sometimes difficult music like this does click in the end.

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    Quote Originally Posted by arturs View Post
    That is some difficult listening right there. By the end I wasn't sure what the point was or why I had listened to it; just felt fatigued. But I'll try it a few more times.... sometimes difficult music like this does click in the end.
    Thanks for giving it a shot Arturs although I have to admit I don't really know what you mean when you question "it's point" or "why I had listened to it".

    I have no idea what it's point is either, or if anything doesn't or everything does have a point...or even needs to have a point. But a "Nihilists are us" conversation this isn't so...i'll drop the point.

    I kind of get what you mean by leaving you fatigued but, at least for me...that can happen with any kind of music at any time. In fact, sometimes feeling drained after listening to something is a good feeling.

    I've only heard this piece once and for me...the first thing I thought of was that the avant-prog world would probably enjoy it. Especially people into the ultra complex, busy type arrangements. Personally, I have to work a little bit to get acclimated to the unusual tunings he uses. It's usually the first thing I notice about his music and I can get how that may be off putting to some, it was definitely hard to grok at first.

    But the more I listened to his stuff, the tunings bothered me less. I just saw it as something that was there and part of his thing. Personally, I'm really amazed at two things in his music...his talents as a player, he's a multi instrumentalists but his main axe is cello, but I've heard him on drums and guitar too and he sounds great on all of them. Secondly, I think he really knows his technology. He's been doing this thing he does (multi-tracking instruments and sounds) for over 30 years now and he's really developed into something quite special and, pretty original. Not only is he a great arranger but...he just makes his music sound HUGE, I mean REALLY HUGE...not sure if I've heard that in too many other places.

    Anyway, I appreciate you giving it a shot and I totally get it's not for everyone, being very much an acquired taste. But, if you do give it a few more listens, i'd be curious to know if your thoughts changed at all.

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    Michael
    If it ain't acousmatique-It's crap

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    Oooo, that piece with the drums/percussion was indeed "difficult listening". I played drums and percussion in my high school band and in several rock bands for about ten years total, but once I switched to doing electronic music in the late 70's, I developed sort of an aversion to drum solos and drum-heavy music in general. Good thing I quit playing drums, or I'd be deaf now, because I always played LOUD. Anyway, very impressive stuff, but I ended up listening to a minute of it, then fast-forwarding a couple of minutes, then listening to some more, then skipping ahead again and again. As I've said before, I look for acousmatic music with very unusual sounds. I'm not into pieces that mix electronics and instruments (which is a huge part of electroacoustic/acousmatic music), unless they've been treated and modified to the point of being unrecognizable.

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    Quote Originally Posted by soundsweird View Post
    Oooo, that piece with the drums/percussion was indeed "difficult listening". I played drums and percussion in my high school band and in several rock bands for about ten years total, but once I switched to doing electronic music in the late 70's, I developed sort of an aversion to drum solos and drum-heavy music in general. Good thing I quit playing drums, or I'd be deaf now, because I always played LOUD. Anyway, very impressive stuff, but I ended up listening to a minute of it, then fast-forwarding a couple of minutes, then listening to some more, then skipping ahead again and again. As I've said before, I look for acousmatic music with very unusual sounds. I'm not into pieces that mix electronics and instruments (which is a huge part of electroacoustic/acousmatic music), unless they've been treated and modified to the point of being unrecognizable.
    I would definitely say this piece is not exactly acousmatic. I think he's in his own world here. He discovered this niche with the multi tracking of instruments and sounds years ago and has run wild with it. Sorry to hear you're not into electronics mixed with instruments. Gilles Gobeil did an album with an Ondes Martenot player that mixed his acousmatic sounds with the Martenot and it's stunning, most likely be my next review for AMN.
    If it ain't acousmatique-It's crap

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    Looking forward to it. I do like the sound of the Ondes Martenot in every piece I've heard, so I guess I'll (partially) take back what I said about musical instruments mixed with electronics. Heard some great electric guitar/electronics pieces as well. And I love Gobeil!

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