Guitar Studies I-III
by Zimoun
Dirk Ruhfus
Dirk Ruhfus
😮Marvelous❤️
Lars Gotrich
Lars Gotrich
Meticulously built guitar drone from the Swiss sound installation artist. There are no loops, only layers of prepared guitars played in real time, then played back through various devices and rooms to achieve a glistening, gliding and gauzy euphoria, drenched in distortion and feedback. www.vikingschoice.org/archive/guitar-drone-faustian-black-metal-bedroom-rave/
Favorite track: Guitar Studies I.
⧪ ⁿ* ⧻ ⧴
⧪ ⁿ* ⧻ ⧴
Beautiful atmospheres and spaces. Like a trip into the desert or the mind - when the small things get large and the psychedelic layers, beauty and deepness unfolds. By the way: review by Grayson Haver Currin on Pitchfork: pitchfork.com/reviews/albums/zimoun-guitar-studies-i-iii/
John Murphy
dicklin
kolya
csmall451
morthz
Matthew Lever
Michel van Collenburg
Lying Dalai
james works
Tolis Theodoridis
Andrew Fahey
stationstudies
kz
Alex
Daniele Santagiuliana
arcabuz
Richard Erickson
immersive_being
emerik
the medic
cj rusky
Peter Stoyko
kevymckeversons
mekkim
Jacob Childress
MKUltra
The Corrupting Sea
Danny Casson
g.bastard
williegarvin99
dqg
stefano
Marcus
walter mattes
Amma Ateria
Will Scherrer
bohdan_linchevski
Gabe Parker
Will Klingenmeier
slugluv1313
Steve Pacheco (truthiscolor)
thebrokencradle
Lost Tribe Sound
JoeTheLion
_duif
mauricerickard
Mark-Oliver
Dr.Nojoke
elementus musicalis
henk
Travis Kemp
Rémy Bocquillon
4//lIGhT
mortuuspete
Carlos Martinez
jermitortes
umlaut_amp
Wil Bolton
h_d
Chuck
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Guitar Studies I
00:00
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58:15
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift cardDownload available in 24-bit/48kHz.
$15 USD or more
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Limited Edition CD and Book
Compact Disc (CD) + Digital AlbumMatte laminate, monochrome and embossed CD with insert card, which features exclusive reductions of the pieces. The edition also includes a book featuring an in conversation between Zimoun and Lawrence English, plus archival documentation and photographs examining Zimoun's work across mediums.
Includes unlimited streaming of Guitar Studies I-III via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Download available in 24-bit/48kHz.Sold Out
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1. |
Guitar Studies I
58:15
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2. |
Guitar Studies II
01:02:20
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3. |
Guitar Studies III
01:04:04
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about
From Zimoun
With the Guitar Studies series I’ve dealt solely with noises and sounds produced by guitars.
Partly I played the guitars by hand in a more conventional way, but more often I prepared them, or activated them by using small DC motors. I used various microphones for the recordings, as well as the loose contact of a pickup and many different amps; from a small toy amp that was partially defective to a beautiful Magnatone amp with analogue tremolo from the sixties and an old Fender Amp I bought together with my first guitar when I was 10 years old.
I also played recorded sounds back in different environments, for example inside a cardboard tube or in different rooms with various sizes, and then recorded them again. This way I added natural resonate and spatiality to the sounds. I also created a distorted sounds by sending the signal of the guitar to a naked speaker membrane lying on the table, and then put some sand on the membrane itself. The friction between the membrane and the sand then created various forms of distortion. I was trying to test various processes of iteration to discover how transformed the guitar might become.
I did not work with loops in any of the compositions. For each layer in each piece, I recorded whatever I was exploring over the whole period of about an hour. In this way, I put together countless hours of sounds. Through the almost endless overlaying and long recording takes, I have tried to achieve a kind of liveliness, even if at the same time no major changes happen in the composition. It’s never exactly the same, but never going somewhere else either. In that sense these compositions also have a strong sculptural component.
After this process, I started working on the microstructures of the recordings. For example, I recorded slow equalizer shifts in some of these tracks over the whole period of time. I also played these live via various controllers and analogue equalizers. This approach allowed the individual frequencies to become more present over long periods of time or mix with others. Figuratively speaking, this is similar to using a lamp (or various lamps) to illuminate a sculpture from different perspectives, or to create slow changes in light, which affects our perception of the sculpture. At different sonic stages, this can also provoke additional psychoacoustic phenomena. Through these methods I have tried to create a complexity in the microstructures of the sounds and their evolutions.
All three compositions last about an hour each. Digitally, they are released in their full length, while the CD contains shortened versions.
With the Guitar Studies series I’ve dealt solely with noises and sounds produced by guitars.
Partly I played the guitars by hand in a more conventional way, but more often I prepared them, or activated them by using small DC motors. I used various microphones for the recordings, as well as the loose contact of a pickup and many different amps; from a small toy amp that was partially defective to a beautiful Magnatone amp with analogue tremolo from the sixties and an old Fender Amp I bought together with my first guitar when I was 10 years old.
I also played recorded sounds back in different environments, for example inside a cardboard tube or in different rooms with various sizes, and then recorded them again. This way I added natural resonate and spatiality to the sounds. I also created a distorted sounds by sending the signal of the guitar to a naked speaker membrane lying on the table, and then put some sand on the membrane itself. The friction between the membrane and the sand then created various forms of distortion. I was trying to test various processes of iteration to discover how transformed the guitar might become.
I did not work with loops in any of the compositions. For each layer in each piece, I recorded whatever I was exploring over the whole period of about an hour. In this way, I put together countless hours of sounds. Through the almost endless overlaying and long recording takes, I have tried to achieve a kind of liveliness, even if at the same time no major changes happen in the composition. It’s never exactly the same, but never going somewhere else either. In that sense these compositions also have a strong sculptural component.
After this process, I started working on the microstructures of the recordings. For example, I recorded slow equalizer shifts in some of these tracks over the whole period of time. I also played these live via various controllers and analogue equalizers. This approach allowed the individual frequencies to become more present over long periods of time or mix with others. Figuratively speaking, this is similar to using a lamp (or various lamps) to illuminate a sculpture from different perspectives, or to create slow changes in light, which affects our perception of the sculpture. At different sonic stages, this can also provoke additional psychoacoustic phenomena. Through these methods I have tried to create a complexity in the microstructures of the sounds and their evolutions.
All three compositions last about an hour each. Digitally, they are released in their full length, while the CD contains shortened versions.
credits
released May 6, 2022
Written and composed by Zimoun
Mixed by Björn Meyer and Zimoun
Mastered by Lawrence English at Negative Space.
Written and composed by Zimoun
Mixed by Björn Meyer and Zimoun
Mastered by Lawrence English at Negative Space.
license
all rights reserved
tags
about
Zimoun
With an interest in Minimalism, space and perception I work within the fields of sound, installation, sound sculpture and composition.
discography
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Sep 2024 -
Sep 2023 -
May 2022 -
Feb 2021
contact / help
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