Evapori
Transkript 17/Transkript 18
LP (E74)




“The source material for these recordings, produced between
2007 and 2009, originates from found objects and treated
acoustic instruments such as cello, viola, double bass*, bass
clarinet**, as well as conga, cymbal, wood, paper, marbles,
wallpapering table and chains. Further sounds have been
produced using my voice and limbs.
  A basic rule for my work with digital tools is to maintain the
liveliness of the source material within the structure of my
compositions. Yet, the newly created elements of sound differ
considerably from the original recordings.”

* By Nikolaus Gerszewski
** By Nicolas Wiese

Oliver Peters (1970) lives and works in Berlin. He begun
producing electronic music in the 1990s, and has been record-
ing and performing as as Evapori since 2002. His compositions
are mostly based on concrete sound sources: field recordings,
transformation of found footage and the use of self-made
sound objects or classical instruments such as piano or cello.
  Together with Nicolas Wiese ([-Hyph-]), Peters established
the record label AIC in 2002. He has contributed music to
the short scientific film E 2250, and a composition to Satoshi
Morita’s Klanghelm (Sonic Helmet) project. His Rehearsals for
Objects CD (1000füssler, 2008) was broadcast by Deutschland-
radiokultur. Transkript 18 was awarded second prize in the
Prix Jeu des Temps 2009.

Edition of 250 copies

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Review

The dynamics are weird here. Both Transkripts are composed
entirely of acoustic instruments, but there's an unusual dis-
connect between the quietness of the more obviously acous-
tic instruments and the slobbery rustles and bongs of contact-
miked small sounds, which are amped to barge curtly into
the foreground. In other words, the usual dynamics are re-
versed: small sounds are up, symphonic textures down. It’s
a characteristically obtuse move from Oliver Peters, whose
compositions have been bleeding together assumptions about
digital and acoustic sounds since the early 1990s. Transkript
18 won the Prix Jeu des Temps in 2009, and it’s a classy
piece of work; fidgety, brittle percussion and electronics need-
ling each other with restless, pointed pixels, accompanied
infrequently by a nauseous swim of strings.

Nick Richardson in The Wire