Facades
by Orson Hentschel
-
Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
€4 EUR or more
-
Compact Disc (CD) + Digital AlbumIncludes unlimited streaming of Facades via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 days
€13 EUR or more
-
-
Record/Vinyl + Digital AlbumIncludes unlimited streaming of Facades via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 daysedition of 30
€13 EUR or more
-
1. |
Facade I
06:25
|
|||
2. |
Facade II
07:48
|
about
Only six months after his sophomore album, which has showcased a "tense repetition of short phrases, often building big, dramatic pieces starting with a single stuck-in-the-machine sound" (Decoder) and an "analogue cyber trip-hop of an impressive depth of focus as an acoustic furniture for an apocalypse lounge" (Groove), Hentschel returns with a two-piece EP showcasing yet another aspect of his musical spectrum. While the first two albums featured only instrumental tracks, "Facades" are the first two pieces in which Orson Hentschel works with text as a main musical element for his composition, although he approaches vocals from a rather particular perspective.
For Hentschel, the spoken word is always music and thus not different than any other instrumental input or sound layer. Consequently, he is only interested in the sound of the spoken words on Facades, but not in any content they convey. The idea for Facades was born at a time when Hentschel was struggling with a writer's block for several days in a row. He realised that just writing about nothing was the only honest way for him to express himself through text as a medium. After doing some research on the subject he found John Cage's "Lecture on nothing" which has appeared in the book "Silence" (1961). This encouraged him to work out his idea and he wrote a German text which then Danhee Joe, an accidental acquaintance of his, translated into Korean and spoke with her warm voice. Thus Orson Hentschel used the text in the same way as he uses any sound material - it is transformed into something else, it is being alienated. The spoken words are embedded in repetitive and minimal-minded electronic sound layers which even penetrate primordial technoid territories. However, sticking to his trademark long arcs of suspense, the listener has to wait until the last two minutes of the second track for the first, cathartic beat.
For Hentschel, the spoken word is always music and thus not different than any other instrumental input or sound layer. Consequently, he is only interested in the sound of the spoken words on Facades, but not in any content they convey. The idea for Facades was born at a time when Hentschel was struggling with a writer's block for several days in a row. He realised that just writing about nothing was the only honest way for him to express himself through text as a medium. After doing some research on the subject he found John Cage's "Lecture on nothing" which has appeared in the book "Silence" (1961). This encouraged him to work out his idea and he wrote a German text which then Danhee Joe, an accidental acquaintance of his, translated into Korean and spoke with her warm voice. Thus Orson Hentschel used the text in the same way as he uses any sound material - it is transformed into something else, it is being alienated. The spoken words are embedded in repetitive and minimal-minded electronic sound layers which even penetrate primordial technoid territories. However, sticking to his trademark long arcs of suspense, the listener has to wait until the last two minutes of the second track for the first, cathartic beat.
credits
released January 26, 2018
Mastered by Konrad Kraft at Paraschall
Mastered by Konrad Kraft at Paraschall
license
all rights reserved
tags
discography
-
May 2024 -
Feb 2023 -
May 2022 -
Apr 2019 -
Jan 2018 -
Jun 2017 -
Feb 2016
contact / help
If you like Orson Hentschel, you may also like:
-
-
All This I Do For Glory
by Colin Stetsonsupported by 4 fans who also own “Facades”
Ever considered collaborating with The Body ?
go to album -
Departure Songs
by We Lost The Seasupported by 4 fans who also own “Facades”
This is a devastating piece of post-rock music.
go to album -
An introspective multi-media experience showcasing experimental electronic dreamscapes alongside short films by an array of visual artists.
go to album -
Gross Net Means Gross Net
by Gross NetThe solo project of Philip Quinn (Girls Names), this is dark-edged electronic work with a needle-sharp take on life in the U.K.
go to album -
Suplington’s “After Life” is a transcendent mix of beachside field recordings, strings, & ambience, making for a blissful, relaxing listen.
go to album -
