blanco estira nuestro (+), hermana Hélice
Cylindre./.oeur (S+C)
12" (E57/A72)




blanco estira nuestro (+), hermana Hélice is Socrates Martinis’
(1984, Athens, Greece) third pseudonymous project, following
nixilx.nijilx and Hélice Pied. This installment, composed in
2006–7 using found sounds and objects, focuses on the sounds
and sights of a distant aeroplane, the vanishing drone of which
Martinis’ finds to be particularly beautiful. The subject of planes
was first explored in Aputi (released by Authorised Version,
2005), the final section of which makes a return appearance
here in the .oeur diptych. This piece also reuses a guitar sound
from E.2, which originally appeared on the debut nixilx.nijilx
CDR published by absurd in 2004. Cylindre. also revisits past
recordings, borrowing a bell sound from Conduit no. 2 (Drone
Records, 2006). Martinis is also a member of ‘silkworms cannot
be confiscated until they’ve become perfect cocoons’ with
absurd’s Nicolas Malevitsis.

Socrates Martinis’ text accompaniment to his May 2009
performance “Position lines within an afternoon movement”

Edition of 200 copies.
Co-published with absurd

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Socrates Martinis, “Position lines within an afternoon movement”
(Athens, May 2009). Performer: Electra Papathanasopoulou;
video artist: Marina Gioti. Photographs by Giorgos Karamitsos


Reviews

What is startling about [Martinis’] work is its deftness and precision —
it’s frequently unclear where the location recordings end and the
processed sounds begin. Martinis exploits the limitations of his
recording equipment with great imagination, treating the sound of
rasping wind on a microphone as if it’s a heavily processed digital
soundscape, or reimagining sudden pops, thuds and jolts to the mic
casing as sort of ‘real’ glitches that are in turn folded back into the
processed sounds, until the joins are all but invisible.

Keith Moliné in The Wire

A 45 rpm EP, using field recordings and treatments. I know, I know,
sounds like more of the same, but it’s really good. Not sure of the
sources here, but he’s apparently done work with far off aeroplane
sounds before and it’s possible that resurfaces here. Steady, complex
hums and wheezing, very aerated. More violent episodes punctuate
parts of the piece ‘.oeur’, but generally it cruises along, picking up
the odd scrape and enhanced rustle along the way. Nice work.

Brian Olewnick at Just Outside