:zoviet*france: - The Decriminalization of Country Music: Themes for Tramway (2002)
Cover Front Album
Artist/Composer :zoviet*france:
Length 47:15
Format mp3
Genre Experimental
Index 12
Track List
01 Something Spooked the Horses 0 08:54
02 Electron Gate 0 09:59
03 Stainless 0 01:25
04 Pyroclastic Flow 0 11:45
05 Dust and Scratches 0 01:03
06 Duct Tape 0 00:27
07 Purline 0 02:18
08 Spiiltek 0 06:08
09 Light Abrasion 0 05:16
Personal
Purchase Date 4/19/2003
Rating 70%
Location TRAX_202
kbps 192
Details
Spars DDD
Rare No
Sound Stereo
Notes
Tramway is an arts space in Glasgow; it is a building that was reclaimed from the industrial ruin of the city's tram depot to serve as an all-purpose space for performance, exhibitions, installations, readings, and more. The board of Tramway commissioned Zoviet France to make an aural documentary of the building, to incorporate sounds from its site as a ruin, its adaptation and reclamation — ultimately its evolution — and also from its state as a finished space with vibrations that emanate into the future. The Decriminalization of Country Music is Zoviet France's two-sided coin. It accomplishes what its commission was instructed to — that is, bring in all these various sounds — so that the building itself is a constant meditation piece for the entire record, but it also utilizes whining electric guitars that come from the ether only to return there. They drift and moan with more soul than any Eno ambient project, and yet feel somewhat less dynamic than a Ry Cooder soundtrack. And this is on purpose. Along with the perception of the ghosts of a tram station, the presence of the workers during its transformation are the vibrations of works being created in a future unnamed. So while the meditation on the building is a constant, it is movement-oriented, and so is the ethereal, dynamic journey of Zoviet France — country music if it were from Adelaide, Australia, rather than Texas. This is outback music, desert music, the desert of the real from which all sorts of interesting things pop up. There's plenty of sonic drift, but there's also empty space, random outbursts of found sound, and an overall quiet notion that transformation is taking place under the guise of some kind of country music — as if Michael Brook were collaborating with Luc Ferrari — that notates the passage of all things old and ruined into the vaster unknown spaces of the possible. — Thom Jurek