Marc Urselli






Stridulation Records


From three-time Grammy Award winning producer/engineer Marc Urselli and Stridulation Records comes CRÆSHER, a CD album of experimental noise created entirely from the combination of sine waves and mathematical algorithms. According to the album notes, “The goal became to create an experimental form of ambient-noise WITHOUT ANY sort of recorded sound… Some of these pieces follow cyclical evolutions while others morph in time arguably in accordance with absolute randomness.“ Following a Greek mythology theme the tracks have Greek letters for titles and the CD was released on March 14 (3/14) as a tribute to the transcendental number pi.

A surprising amount of variety results from seemingly simple materials and a deterministic creative process; each track has a distinctive character. The first track, α, opens with a sound like the roar of a jet passing overhead and the good panning technique gives a sense of movement and direction. A metallic, mechanical sound enters, and the overall result is a sense of observing something unusual happening in the skies. β, the second track, starts off with a low humming that changes in volume once or twice a second, producing a rhythmic feel. This track has a more immediate and local sound – you have the feeling that something is rotating right in front of you.

Other tracks bring new textures and images such as #10, ι, which has a series of lovely ringing tones that create the feeling of being inside a kaleidoscope. The rhythmic groove creates a circus-like feel to this that is quite appealing. Track 5, ε, features electronic sounds – beeps and boops – that are reminiscent of a pin-ball arcade. Θ, track 9, has low mysterious tones and a repeating figure that perfectly evokes the feeling of being in a strange place in a foggy night. Track 4, δ, has tones that seem to shoot across your hearing, like standing by a freeway while cars go whizzing by. And ϛ, track 6, has a large scale feel that opens with a low pulsing tone, now with a fast clicking above and a rapidly whooshing helicopter-like sound that fades in and out . It is like watching a giant spaceship landing – as if you are in an overwhelming presence.

Still other tracks have a more industrial feel.  λ sounds distinctly like being inside a pipe with a running liquid – the panning here gives a convincing sense of gurgling movement. Other tracks are simply unrelenting such as η, with only the high whining sound of an electric drill that seems to be coming through your bones, or κ, a continuous beeping combined with a jarring ringing sound that conveys an alien harshness.

All of the tracks on CRÆSHER add up to over 50 minutes separately, but they were designed to be cross-faded together such that the total length comes to a little less than 39 minutes of continuous playing. Included with the CD is a bamboo wood enclosure with laser-engraved lettering and a laser-cut CD holder – no plastic was used to make the CD case.

CRÆSHER is an experimental work that shows what can be conjured from simple tones, mathematics and some very creative sound engineering. Described by Urselli as “self-incestuous noise inception” because of the iterative nature of its creation, this CD is nonetheless a marker in the ongoing exploration of synthetic tone creation and self-directed composition. Can noise be art? Judging by contents of CRÆSHER it would seem so. Each track creates a distinctive atmosphere and evokes a mental picture in the listener, and this is the basis of all artistic communication. If you want to hear what is happening at the intersection of art and engineering, CRÆSHER is worth a listen.

CRÆSHER is available from Stridulation Records here.


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