blanco estira nuestro (+), hermana Hélice
Cylindre./.oeur (S+C) 12" (E57/A72)

blanco estira nuestro (+), hermana Hélice is Socrates Martinis’ (1984,
Athens, Greece) third pseudonymous project, following nixilx.nijilx and
Hélice Pied. This installment, composed in 2006–7 using found sounds
and objects, focuses on the sounds and sights of a distant aeroplane,
the vanishing drone of which Martinis’ finds to be particularly beautiful.
The subject of planes was first explored in Aputi (released by Authorised
Version, 2005), the final section of which makes a return appearance
here in the .oeur diptych. This piece also reuses a guitar sound from
E.2, which originally appeared on the debut nixilx.nijilx CDR published
by absurd in 2004. Cylindre. also revisits past recordings, borrowing a
bell sound from Conduit no. 2 (Drone Records, 2006). Martinis is also
a member of ‘silkworms cannot be confiscated until they’ve become
perfect cocoons’ with absurd’s Nicolas Malevitsis.

Socrates Martinis’ text accompaniment to his May 2009 performance
“Position lines within an afternoon movement”

First edition of 200 copies. Co-published with absurd
£8.50





Socrates Martinis, “Position lines within an afternoon movement”
(Athens, May 2009). Performer: Electra Papathanasopoulou;
video artist: Marina Gioti. Photographs by Giorgos Karamitsos


What is startling about [Martinis’] work is its deftness and precision —
it’s frequently unclear where the location recordings end and the
processed sounds begin. Martinis exploits the limitations of his
recording equipment with great imagination, treating the sound of
rasping wind on a microphone as if it’s a heavily processed digital
soundscape, or reimagining sudden pops, thuds and jolts to the mic
casing as sort of ‘real’ glitches that are in turn folded back into the
processed sounds, until the joins are all but invisible.

Keith Moliné in The Wire
—

A 45 rpm EP, using field recordings and treatments. I know, I know,
sounds like more of the same, but it’s really good. Not sure of the
sources here, but he’s apparently done work with far off aeroplane
sounds before and it’s possible that resurfaces here. Steady, complex
hums and wheezing, very aerated. More violent episodes punctuate
parts of the piece ‘.oeur’, but generally it cruises along, picking up
the odd scrape and enhanced rustle along the way. Nice work.

Brian Olewnick at Just Outside