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blanco estira nuestro (+), hermana Hélice

Cylindre./.oeur (S+C)

12" (E57/A72)


Belgium £16.50 (including postage)

Europe £18.50 (including postage)

Rest of world £23 (including postage)


Edition of 200 copies

Co-published with absurd

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”


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 ‘.oeur’, but generally it cruises along, picking up the odd scrape and enhanced rustle along the way. Nice work.

Brian Olewnick at Just Outside


Socrates Martinis

“Position lines within an afternoon movement”
(Athens, May 2009)

Performer: Electra Papathanasopoulou
Video artist: Marina Gioti

Photos by Giorgos Karamitsos

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