(idm) Pita : Get Out : [mego]

From Pietro
Sent Tue, Oct 19th 1999, 20:32

Fresh from the DEI press-sheets:
>>

PITA=20
Get Out=20
MEGO029(B)CD / MEGO029(R)CD=20
[limited edition BLUE & RED cover art]=20

Long awaited follow up to Prix Ars Electronica 99 winning debut "Seven=20
Tons For Free" (currently awaiting second repress on Digital Narics). "Get=
=20
Out" was constructed on the Twisted harddisc in various locations around=20
the world. A more varied, complex affair than its predecessor with a couple=
=20
of surpises thrown in for absolutely no reason at all. Half the edition is=
=20
available in red, the other in blue. Please make your choice.

The Wire (October 1999)>>
With a hardcore attitude and approach to sonic manipulation that equals=20
peers like Autechre, Pan Sonic, and Merzbow, Vienna's Mego label has been=20
active at the cutting-edge of digital music culture for the past four=20
years. Hacking out their own, distinctive audio print, based around=20
abrasive tonalities, glitches and wrinkles, and skittering, abstract=20
structures, they operate across a variety of modern electronic media,=20
consistently pushing and interrogating the technology =F1 searching out=20
spikes, cracks and creative spaces. The visceral grain of the sound and its=
=20
placement appear rigorously, obsessively worked. With Mego, you can=20
literally feel the quality, the difference.

Both a treat and trauma for the ears, "Get Out" sees Mego founder Peter=20
Rehberg in solo mode, opening out a varied collection of simmering=20
sound-scapes. Nine (untitled) tracks, totalling 38-minutes, move you=20
through a devastating, shifting spoor, through opposing poles of extreme=20
noise / quiet, startles and jolts, addictive hooks, stasis-tracks,=20
stumbling trip-ups and snags, flickering, alien ambience - making full use=
=20
of dynamics and the stereo spectrum. Eleven-minutes long, Track 3 works=20
gorgeous chord-run hooks through dense shrouds of scouring splinter-noise.=
=20
Space opens up, narrows back down as the jagged texture-layers expand and=20
contract, tweaking bass and treble. Like the white-out of MBV's "You Made=20
Me Realise", it hits you as an awe-full, jaw-dropping revelation, stopping=
=20
dead in its tracks without warning. A brilliant, concise study in=20
sound-design, structure and tweaked expectations, on "Get Out" every second=
=20
seems vital, every sound placed and bristling with life.=20
( WIRE)

(about 'Seven Tons For Free')

"Peter Rehberg a.k.a. Pita's first album, "Seven Tons For Free" was a=20
monumental piece which was decisive in the direction that Mego took as a=20
label thereafter. Devoid of any element of ornamentation, the album=20
featured endless repetitions of high frequency digital noises. Quite unlike=
=20
"minimal techno", all the sounds in this piece were reduced to pulse=20
signals, distorted to unheard of extemes. These sounds could have been seen=
=20
as the ruins, or maybe the corpse of techno. Along with albums such as=20
Panasonic's "Vakio" and Ryoji Ikeda's "+/-", this album came to be known as=
=20
a manifesto-like masterpiece."=20
(Atsushi Sasaki)

"..."buzzing" is the word for Pita's SEVEN TONS FOR FREE. The music is less=
=20
enslaved to rhythm, employing the same raindrop pitter-patter and piercing=
=20
frequencies as Ryoji Ikeda, infusing the patterns with a sense of natural=20
entropy. Short tracks, not a trace of predictability--or melody--and=20
stubbornly obtuse; Pita's formula sounds like a recipe for migranes but=20
plays out as a fascinating investigation of pulse waves and=20
electro-acoustics." (Magnet)
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