scott arford

 

"Radio Station " (CD) October 2005 Antifrost |afro2033| - - - - - - - - - - - - - -

DE-BUG (D)Es ist nicht unbedingt neu, dass das Radio als Quelle alles Ungest?men, aller Kraft im Gerdusch und des ungebdndigten Babel angesehen werden kann. Arford wei? um die Macht des Radios und um die post-faschistischen Strukturen, die immer noch das selbe anrichten kfnnten wie vor 60 Jahren (was ein Quatsch, schreit da der Pragmatiker). Daher vielleicht die Offenheit seiner Musik, die auf Versatzst?cke weit entfernter Radio?bertragungen zur?ckgreift, um die doch recht harshen Stratosphdren-Noises einigerma?en in Kontrolle zu halten. Die wollen ndmlich lieber in unberechenbaren Geschwindigkeiten ausbrechen, um den Eindruck einer ungemein seltsamen Art von Sound aufrecht zu erhalten, die eigentlich tagtdglich durchs Kofferradio geistert, aber (mit Ausnahme einer gewissen transparenten post-9/11 Spy-?sthetik) nie die Anerkennung erhalten hat, die ihr bereits seit Anbeginn aller Zeiten zustehen sollte. Entr?ckt, kaputt, liebevoll, irgendwo dazwischen gedeiht Arfords Radio Station und wdchst schnell in die Bereiche hinein, wo sonst nur Engel lauschen. ed*****

THE WIRE (UK) Tune into the shortwave bands in and around San Francisco and you're likely to discover little more than static, hiss and electrical interference broken up by an occasional transmission from a libertarian wacko in the Santa Cruz mountains. Scott Arford has spent his entire carrer manipulating a similar static from televisions in his searing audiovisual installations ans perdormances, so it makes perfect sense for him to begin investigating his hometown's cracked ether. Just as he does through his jacked up TV's, he seeks only the most caustic radio signals as his source material and aggresively cobbles together jagged layers of hotwired sound. In many ways, Arford picks up where John Duncan and Daniel Menche - particularly in the use of conglomerates of throbbing pulses and sub-frequency vibrations - Arford manages to highlight the most inherent "musical" nature of a highly fascinating cause of aural enjoyment.Jim Haynes

TOUCHING EXTREMES (IT) Shortwave music bears lots of intriguing contrasts: we experience apprehension and relaxation in equal measure, according to the matching of timbral colours, the element of surprise, the composer's attitude towards the exploitation of a pure source in opposition to heavy studio treatment. In this sense, "Radio station" by Scott Arford is a very balanced album; the sounds are thoroughly captivating in their non-confrontational homogeneity, yet maintain a halo of secrecy which distances the overall result from what one could expect from similarly conceived works. Developing a personal aesthetic which finds common elements with the experiments by John Duncan left off with his early shortwave piece Riot, in physically activating emprty spaces of the medium and contextualising the harsh, sonic jigsaw puzzle as an anthropomorphic discharge of violent expressionism. Massimo Ricci

JADE (FR) Scott ARTFORD, musicien résident à San Francisco manipule depuis une poignée d'années les problématiques autour des médias, de leur usage et des procédés d'émissions attenants. Il participe, aux côtés d'autres intervenants du son (Daniel Menche, Joe Colley, Francisco Lopez, Zbgniew Karkowski, Masako Tanaka, Tom Novak, etc. à creuser la matière du son, à en repousser les frontières, à en " borner " les limites. Ici, comme pour la toute récente double compilation de Cronica, Artford expérimente sur la radio, explore les strates parallèles des sonorités (et des non-sonorités) qui s'y cachent, traquent les no man's land sonores de bruits blancs entre chaque plage pour construire son projet. Excessivement expérimentales, ses pièces n'en demeurent pas moins narratives dans leur déroulement, privilégiant une sorte de cinématique de teintes sépias.

VITAL WEEKLY (NL) In the Bay area he's quite well-known, Scott Arford, operator of the 7HZ label, video artist, musician and collaborator of Francisco Lopez, Randy Yau and Micheal Nine. His output however is quite small. 'Radio Station' is his latest work, and it deals with one of the easiest to obtain sound sources: radio sounds. Not the speech type, or plunderphonica, but everything in between the stations - the cracks, the static, the hiss. Arford is not a sensitive man: whatever he finds on the radio waves he uses, but with a high intensity. His work is not about careful, delicate sounds, but a rather forceful, mean and loud mixture of waves crumbling over each-other, falling apart, chopped up. Not really moments of silence and contemplation here, but on the other hand, Arford isn't interested in doing 'just' a bunch of noise either. He knows how to make a strong, vivid collage of sound out of these radio station and how to make a forceful, interesting piece of music. Energetic and present. The use of radio sounds may not be entirely new, the results of Arford are certainly very very nice.(FdW)

PHOSPHOR (NL/D) One of the leading figures of new media arts in the San Francisco Bay Area, Scott Arford, released a noise album on the label Antifrost. Radio
station as it is called, contains no easy-listening music, but digitalized noise that seems to come in fast and resolute streams. The third track seems to offer some occasional voice samples (scanned space travel conversations) hidden in the background. All kind of static noise frequencies have been structured into turbulent streams. The listener has no clue what the origins of the sounds used are, but the overall impression is that of digitalized dust storms and outerworld sound combinations.