Frank Rothkamm describes his LAX as “a cinema vérité of contrasting soundtracks: 10 scenes map the gradual collective re-wiring of reality to that of high-parallelism during the 2 years before the year 00 in the megacity of Los Angeles”. It reminds me of some of the great musique concrete pieces of the 1960s and 70s, and that’s a very good thing. I really like the sounds Rothkamm builds using material “recorded in its entirety in Los Angeles with vintage equipment – including, but not limited to, a Hewlett-Packard first-generation model sine wave oscillator, and classic Atari and Macintosh home computers, both of which were custom programmed”.
Here we have filter sweeps, amplitude modulations, bell-tones built from sine waves, the whole analog trip. I really don’t know what else to say besides this: If you dig Hymnen, you’ll dig LAX.
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