artist: JOHN HUDAK
title: Sand Or Stars
catalog number: and/16
release year: 2005
format: CD
status: sold out
title: Sand Or Stars
catalog number: and/16
release year: 2005
format: CD
status: sold out
Comparisons between the sand of the earth with the stars above are
many, but comparisons of this release by American composer John Hudak with his
previous work are far less to be found.
The first track on Sand Or Stars is unlike much of John's previous work in that it
features sharp staccato percussive sounds suddenly dodging in and out, but
nevertheless it still has John's "endless" compositional sense written into it. A
subtle sense of humor seems to be inherent in the piece as well, as if some of the
sounds hesitate with indecision as to whether or not they should make their
presence known or perhaps they are trying to avoid colliding with some of the
other sounds. And upon listening to this piece, be careful with volume settings at
first listen, because the listener will quickly discover another aspect of this piece
that is unlike much of John's previous work: sudden volume shifts. This seems to
suggest that the sounds are also changeable in
temperament as well.
The second piece on this CD is perhaps the most meditative of the collection with
its muted midrange buzzing that jumps around within the stereo spectrum, perhaps
being reminiscent of musical radar signals or sonifications of normally inaudible
activity occurring in a planet's magnetosphere, all the while maintaining a
benevolent warmth throughout.
And what could possibly be described as the amplification of rolling ion particle
blasts being broadcast via shortwave radio, tells us that we have reached the third
and final piece of this collection of what could be considered as being among
John Hudak's finest works.
Sand Or Stars was mastered by Stephan Mathieu.
many, but comparisons of this release by American composer John Hudak with his
previous work are far less to be found.
The first track on Sand Or Stars is unlike much of John's previous work in that it
features sharp staccato percussive sounds suddenly dodging in and out, but
nevertheless it still has John's "endless" compositional sense written into it. A
subtle sense of humor seems to be inherent in the piece as well, as if some of the
sounds hesitate with indecision as to whether or not they should make their
presence known or perhaps they are trying to avoid colliding with some of the
other sounds. And upon listening to this piece, be careful with volume settings at
first listen, because the listener will quickly discover another aspect of this piece
that is unlike much of John's previous work: sudden volume shifts. This seems to
suggest that the sounds are also changeable in
temperament as well.
The second piece on this CD is perhaps the most meditative of the collection with
its muted midrange buzzing that jumps around within the stereo spectrum, perhaps
being reminiscent of musical radar signals or sonifications of normally inaudible
activity occurring in a planet's magnetosphere, all the while maintaining a
benevolent warmth throughout.
And what could possibly be described as the amplification of rolling ion particle
blasts being broadcast via shortwave radio, tells us that we have reached the third
and final piece of this collection of what could be considered as being among
John Hudak's finest works.
Sand Or Stars was mastered by Stephan Mathieu.
PARIS TRANSATLANTIC (OCTOBER 2005)
Given today's irrepressible tendency to make classification prevail over actual
substance, a work like Sand or Stars is difficult to describe. You could say it sounds
wholly unadulterated; Hudak is well known for his personal take on reductionism
(not in the lowercase improv sense of the word), usually starting from
environmental recordings that capture the essence of a single sound source (he
once put contact microphones on the Brooklyn Bridge), transforming it into small
molecules and granular self-cloning clusters of indecipherable activity. What
appeals to the ear is the barely regular sonic shape and peculiar logic as these
bionic manifestations flutter around the listening space, peeking from various
angles of a structure with no apparent architecture, moving from a
percussive/metallic bouncing via a delicate brain massage of hypnotic buzzing
frequencies to a reverb-drenched passage whose nature seems to be aquatic - but
I wouldn't bet on it. (Massimo Ricci)
Given today's irrepressible tendency to make classification prevail over actual
substance, a work like Sand or Stars is difficult to describe. You could say it sounds
wholly unadulterated; Hudak is well known for his personal take on reductionism
(not in the lowercase improv sense of the word), usually starting from
environmental recordings that capture the essence of a single sound source (he
once put contact microphones on the Brooklyn Bridge), transforming it into small
molecules and granular self-cloning clusters of indecipherable activity. What
appeals to the ear is the barely regular sonic shape and peculiar logic as these
bionic manifestations flutter around the listening space, peeking from various
angles of a structure with no apparent architecture, moving from a
percussive/metallic bouncing via a delicate brain massage of hypnotic buzzing
frequencies to a reverb-drenched passage whose nature seems to be aquatic - but
I wouldn't bet on it. (Massimo Ricci)
VITAL WEEKLY (SEPTEMBER 2005)
It has been quite a while since I last heard a work by Hudak, so this disc comes as
a very nice re-introduction to his work. The CD contains three tracks, all of which
clock between 17 and 20 minutes. The compositions are the same: a long stretch
of stretched sounds, edited and put together almost at random. Of course this has
a purpose: it pulls the listener to focus on the sound itself, instead of on
development in time. This character of the music is enhanced by the duration of
the tracks: after 5 to 7 minutes time becomes quite irrelevant and the quality of
the sounds is all important. And here lies Hudak's great strength: the original
material is treated so very well, that one keeps listening to the sounds, intent on
grabbing them in some way, while they themselves elude captivity all the time.
This is a pretty miraculous feat and one that Hudak maintains throughout the
whole disc. Excellent listening experience! (Roel Meelkop)
It has been quite a while since I last heard a work by Hudak, so this disc comes as
a very nice re-introduction to his work. The CD contains three tracks, all of which
clock between 17 and 20 minutes. The compositions are the same: a long stretch
of stretched sounds, edited and put together almost at random. Of course this has
a purpose: it pulls the listener to focus on the sound itself, instead of on
development in time. This character of the music is enhanced by the duration of
the tracks: after 5 to 7 minutes time becomes quite irrelevant and the quality of
the sounds is all important. And here lies Hudak's great strength: the original
material is treated so very well, that one keeps listening to the sounds, intent on
grabbing them in some way, while they themselves elude captivity all the time.
This is a pretty miraculous feat and one that Hudak maintains throughout the
whole disc. Excellent listening experience! (Roel Meelkop)
COOKIE SCENE (AUGUST 2005)
The latest work by haiku poet of sound John Hudak. He has recorded 3 long tracks
with the sound of tapping on a tin can as source material processed until it sounds
like sand or stars (and I understand that the conclusion of whether it is sand or
stars is then left to the listener). His alchemic craft, applied to full effect here,
encourages the structuring of a storyline in the listener's brain through
sound-processing accompanied by a superb sense of concept and aesthetics.
With mastering by close friend Stephan Mathieu.
(Kazumichi Sato - English translation by Jonathan Way)
The latest work by haiku poet of sound John Hudak. He has recorded 3 long tracks
with the sound of tapping on a tin can as source material processed until it sounds
like sand or stars (and I understand that the conclusion of whether it is sand or
stars is then left to the listener). His alchemic craft, applied to full effect here,
encourages the structuring of a storyline in the listener's brain through
sound-processing accompanied by a superb sense of concept and aesthetics.
With mastering by close friend Stephan Mathieu.
(Kazumichi Sato - English translation by Jonathan Way)
E / I MAGAZINE (WINTER / SPRING 2006)
Hudak's Sand Or Stars offers three long compositions, each a meditation on
incomprehensibility and enormity. Like most of Hudak's recent digital recordings,
Sand explores small "non-referential" sound events and strategies of restatement,
variation. In contrast to the thematic conceit, each of these feels relatively stable,
confident, and seems to inhabit small, womb like spaces rather than the quantum
topographies of an unquantifiable expanse. Resistant to language more than to
counting, these are less remarkable only against the backdrop of Hudak's
consistently strong work. (William S. Fields)
Hudak's Sand Or Stars offers three long compositions, each a meditation on
incomprehensibility and enormity. Like most of Hudak's recent digital recordings,
Sand explores small "non-referential" sound events and strategies of restatement,
variation. In contrast to the thematic conceit, each of these feels relatively stable,
confident, and seems to inhabit small, womb like spaces rather than the quantum
topographies of an unquantifiable expanse. Resistant to language more than to
counting, these are less remarkable only against the backdrop of Hudak's
consistently strong work. (William S. Fields)
SMALLFISH (JULY 2006)
John Hudak has this uncanny knack of being able to entrance and hypnotize you
with the most reduced and seemingly simplistic manipulations. However there's an
awful lot more going on than it initially seems. This is constructed out of three very
distinct works that range from micro-fractured electronics - which have been
processed from an unknown sound source - to a more friendly and deep
drone-based style. There are links with his work on Con-V and Spekk, although
these pieces are actually more varied in style. Stephan Mathieu has mastered the
CD to the highest possible standard and, once again, and/OAR have delivered a
superb album. Recommended. (Mike Oliver)
John Hudak has this uncanny knack of being able to entrance and hypnotize you
with the most reduced and seemingly simplistic manipulations. However there's an
awful lot more going on than it initially seems. This is constructed out of three very
distinct works that range from micro-fractured electronics - which have been
processed from an unknown sound source - to a more friendly and deep
drone-based style. There are links with his work on Con-V and Spekk, although
these pieces are actually more varied in style. Stephan Mathieu has mastered the
CD to the highest possible standard and, once again, and/OAR have delivered a
superb album. Recommended. (Mike Oliver)
