transcende

The Death Of Rave, 30. April 2015, 2LP, Album 
gaborlazar.com / markfell.com

Watch Aphex Twin playing Mark Fell and Gábor Lázár at Field Day London 2017: goo.gl/hkud0m and at Primavera Sound Barcelona 2017: https://goo.gl/3wT1sc

The Quietus on Aphex Twin at Field Day London: "...one of the most head-spinning moments around 30 minutes into his set thanks to a cut from Mark Fell & Gábor Lázár's 2015 record released via The Death Of Rave."
https://goo.gl/6DfjN1

The Wire Magazine (Issue 376, June 2015):

"[...] Formed from an ascetic palette of untreated beats and single-frequency synths, The Neurobiology Of Moral Decision Making flaunts Fell and Lázár's microscopic attention to detail throughout, with each track drawing your attention to a tiny parameter variation. Unlike the pointillist studies of Ryoji Ikeda and Florian Hecker, the results are unexpectedly itchy, funky and exhilarating - as the press release says, this neuroscience is "almost compatible with footwork". Amid all the odd numbered time signatures and disorientating multitimbral drones, the disc works a sincere homage to the intricate web of kick drums and snares of Chicago dance music.

When Autechre and Aphex Twin deployed loops of ball-bearing sounds a decade and a half ago, in "VI Scose Poise" and "Bucephalus Bouncing Ball" ,things could slip up and fall flat. This self-conscious IDM was, as Matthew Ingram put it in The Wire 349, "the worst of both worlds, like pipe-smoking breakdancer". Here, in the untitled seventh track, the same rhythmic pattern spawns five minutes of compelling material, a rapid dancefloor cut in which Fell's beat suddenly drops midway through, leaving Lázár's synth flickering alongside a flurry of invisible trainers. The album retains a focus on the danceable, at least until the 12 minute finale, whose strobing and pitched-up snares from the highest bpm of the entire set. Like Hans Christian Andersen's gory tale of the red shoes, this flurry of hyper-rhythmic noise finally passes the bounds of footwork altogether, pointing towards a mechanical state in which human dance is impossible. [...]"

Resident Advisor:

"Rave deconstruction has been back in the spotlight lately. Established figures like Russell Haswell and Mark Fell are in high demand from young labels like Diagonal and Liberation Technologies. And a new generation of musicians are following in their footsteps, taking the conventions and materials of dance music and reshaping them in weird and wonderful ways. Lee Gamble, a self-professed Editions Mego fanatic, puts techno under the microscope. Lorenzo Senni pens bizarre sonic essays on trance. Budapest's Gábor Lázár, meanwhile, fires out machinegun patterns of abrasive synth tones, transforming a single eardrum-scraping rave sound into a study on the psychedelic properties of the dance floor. Music this intensely minimalist is difficult to get right. It risks draining its subject of the qualities that make it so exciting, or else prioritising concept over a musically engaging outcome. Lázár's productions have been improving in this respect, but it's on this collaborative album with Mark Fell that he makes a major breakthrough. [...]" 

Norman Records:

"If you already know Gábor Lázár’s music then you’re probably already a Mark Fell fan and so you won’t be surprised that this collaboration between them has yielded what has to be some of the most rhythmically radical and seizure-inducing futurist electronica being made on planet Earth right now.[...]"

Bleep:

"On The Neurobiology of Moral Decision Making, the duo deliver 10 pieces of off the grid, unsyncopated mastery, deconstructing of the steadfast preconceptions of dance music through a suite of constantly shifting time signatures, sporadic claps and sterile, modernistic melody. Such production methods obliterate the deeply rooted notions of rhythm, ushering in a new age of dance floor exploration.[...]"

Mark Fell and Gábor Lázár - The Neurobiology Of Moral Decision Making (2015)

Wrinkly Better Wrinkly

Steve Roden - Airria (Hanging Garden) Second Version

STEVE RODEN - Small Songs For Kack Jirby

Steve Roden - Every Color Moving (1988-2003)

the radio

STEVE RODEN /  IN BE TWEEN NOISE  The radio (extract)

“Vester Fields was composed using a found postcard to determine the following sounds/instruments used to generate the piece: violin (an old handmade tramp art instrument), accordion (a very small children’s toy accordion from china), voice (my own), plant (a shiso branch), field recordings (from marfa texas and a glacier in norway), and a 1940′s home recording (in the form of a 7 inch 78rpm cardboard record).”

-Steve Roden, December 2007

Steve Roden - Vester Fields

VOLUME is a collective of creative individuals dedicated to presenting time-based work by emerging and established artists engaged in sound based practices, including performance, experimental music, field recording, voice, radio, movement, and technology. Through performances, concerts, exhibitions, screenings, and workshops, VOLUME aims at fostering a critical understanding of politics and aesthetics in relation to sound and sound based practices.  As a curating body, VOLUME intends to cultivate social and public activities, contributing to the contemporary sonic arts scene of Los Angeles.

Steve Roden - Vester Fields

VOLUME

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