Evapori
Transkript 17/Transkript 18
LP (E74)

 

Belgium £16.50 (including postage)

Europe £18.50 (including postage)

Rest of world £23 (including postage)

 

Edition of 250 copies

“The material for these recordings, produced between 2007 and 2009, originates from found objects and treated
acoustic instruments such as cello, viola, double bass*, bass clarinet**, as well 

as conga, cymbal, wood, paper, marbles,
wallpapering table and chains. Further sounds have been produced using my voice and limbs. A basic rule for my 

work with digital tools is to maintain the
liveliness of the source material within 

the structure of my compositions. Yet, 

the newly created elements of sound differ considerably from the original recordings.”

 

* By Nikolaus Gerszewski
** By Nicolas Wiese

 

Oliver Peters (1970) lives and works in Berlin. He begun producing electronic music in the 1990s, and has been 

recording and performing as as Evapori since 2002. His compositions are mostly based on concrete sound sources: 

field recordings, transformation of 

found footage and the use of self-made
sound objects or classical instruments such as piano or cello. Together with Nicolas Wiese ([-Hyph-]), Peters established the record label AIC in 2002. He has contributed music to the short scientific film E 2250, and a composition to Satoshi Morita’s Klanghelm (Sonic Helmet) project. His Rehearsals for

Objects CD (1000füssler, 2008) was broadcast by Deutschland-radiokultur. Transkript 18 was awarded second prize in the Prix Jeu des Temps 2009.
 

—
Review

The dynamics are weird here. Both Transkripts are composed entirely 

of acoustic instruments, but there's 

an unusual disconnect between the quietness of the more obviously

acoustic instruments and the slobbery rustles and bongs of contact-miked 

small sounds, which are amped to barge curtly into the foreground. In other words, 

the usual dynamics are reversed: small sounds are up, symphonic textures down. It’s a characteristically obtuse move from Oliver Peters, whose compositions have been bleeding together assumptions about digital and acoustic sounds since the early 1990s. Transkript 18 won the Prix Jeu des Temps in 2009, and it’s 

a classy piece of work; fidgety, brittle percussion and electronics needling 

each other with restless, pointed pixels, accompanied infrequently by a nauseous swim of strings.

Nick Richardson in The Wire