Tag Archives: [n.]

[Archive 12.28.11]

1) Output:NOISE, “Pica,” A Soundtrack to the DSM-IV (Output:NOISE)
2) Output:NOISE, “Catatonic Schizophrenia,” A Soundtrack to the DSM-IV (Output:NOISE)
3) Diamond Terrifier, “Porcupine Quills” Live on WKCR NY
4) Ay Fast, “Eat the Camera,” Always Crying (Schematic)
5) Ay Fast, “Yes Please (Vaetxh Version),” Always Crying (Schematic)
6) Ay Fast, “Extended Sickdays,” Always Crying (Schematic)
7) [n.], “Costae Spruriae,”
8) [n.], “[[]], Ein Klagelied fur 3f (cae-sur-a)
9) Chapels, “Stumbling,” Glossy Eyes Vol. 1 (Bad Drone Media)
10) The Love Story, “U$ Drone”
11) Thoughts on Air, “Slow On (Glow On Ike Moldfield Remix)”

[2011 in Review: [n.], ‘Ein Klagelied für 3f’]

Not only did Cae-sur-a’s co-owner/curator Jen Marquart find time to release a dozen or so cassettes over the past year by a variety of artists under her Rochester-based imprint, but she also managed to put together an interesting solo/side project titled simply [n.].

On Ein Klagelied für 3f (which translates to ‘A Lament for 3f’), Marquart delves into a variety of sounds but does so in just over the course of seven streamlined tracks. And in fact, after several listens, one wonders to what extent her curation of cae-sur-a had an impact on this recording. You almost get the sense that the artist behind this cassette is sorting through a variety of sonic ideas that perhaps she absorbed while filtering demos.

While experimental musicians and sound artists often have a habit of agonizing over a single sonic contour–and forcing their listeners to suffer right along with them—Marquart conversely shows here that she has few reservations about discarding an idea once it’s been adequately explored and then quickly moving on to another.

In fact, the one defining characteristic of this tape–if one is identifiable–is the quick procession in which the artist takes the listener from point A to point B. The tape therefore has a refreshing effect upon the listener due to its refinement and commitment to brevity over indulgence or gluttony. This leaves the listener wanting to hear more: more of the ground-shaking drones, more rising analog pads that underpin everything, and definitely more of that eerie German chanting.


Review by Cameron Alexander