"Peripherad debris" is the second release of the trilogy started with "Bombinate".
If in Bombinate we announced a sonorous intentionality - bombinate means: make a low, vibrating, humming sound - now, halfway through the tripartite journey, we define a path - peripherad debris means: toward the periphery as the remains of anything broken down or destroyed. It is between the enunciation of the sonority and its conceptual spatialization that the sounds that can be heard in this new album are played. A posture that consciously opts for recognizable aesthetic options and yet, because it wants to, it moves towards its periphery with the feeling that there are only remnants of what is enunciated. And if it is on the periphery that the turbulence is bigger and more decisive, precisely because it is far from the center, it is also in these remains that are the most stimulating sonorities to be explored. It is in this border position that we find ourselves in the middle of this trilogy. In an open and inclusive place to all experiments and also to collaborations. We present for the first time a track composed in collaboration with a musician outside the project.
Once again, the album is built between peripheral and aesthetic approaches common to the project: from quasi-ambient stillness to a mass sound quasi-noise. And yet it is in this quasi that the entire universe of Haarvöl's music is located. A quasi that now presents itself as a remnant that is appropriated and distinctive into the idiosyncrasy of the project. A remnant that is now conceptually individualized as directed to the periphery. Perhaps because there, far from the center, the experiments are more free and possible. Because for us the music and art in general has always been presented as a space of freedom. It's where we want to be ... obviously, only provisionally.
If in Bombinate we announced a sonorous intentionality - bombinate means: make a low, vibrating, humming sound - now, halfway through the tripartite journey, we define a path - peripherad debris means: toward the periphery as the remains of anything broken down or destroyed. It is between the enunciation of the sonority and its conceptual spatialization that the sounds that can be heard in this new album are played. A posture that consciously opts for recognizable aesthetic options and yet, because it wants to, it moves towards its periphery with the feeling that there are only remnants of what is enunciated. And if it is on the periphery that the turbulence is bigger and more decisive, precisely because it is far from the center, it is also in these remains that are the most stimulating sonorities to be explored. It is in this border position that we find ourselves in the middle of this trilogy. In an open and inclusive place to all experiments and also to collaborations. We present for the first time a track composed in collaboration with a musician outside the project.
Once again, the album is built between peripheral and aesthetic approaches common to the project: from quasi-ambient stillness to a mass sound quasi-noise. And yet it is in this quasi that the entire universe of Haarvöl's music is located. A quasi that now presents itself as a remnant that is appropriated and distinctive into the idiosyncrasy of the project. A remnant that is now conceptually individualized as directed to the periphery. Perhaps because there, far from the center, the experiments are more free and possible. Because for us the music and art in general has always been presented as a space of freedom. It's where we want to be ... obviously, only provisionally.
