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Michael Gendreau - Polvo Seran, Mas Polvo Enamorado
CD (San Francisco)

-Ghosts of Logical Reasoning
-Polvo Seran, Mas Polvo Enamorado
-Objects Separated by String
-Le Cris Du Batiment De Fri Art

(Lost In a Sea of Sound) Michael Gendreau's passion and creativity exists in a world of frequencies almost two low to hear. Like art at a microscopic level, magnification needs to be amplified in order to see. Polvo Seran, Mas Polvo Enamorado is similar to this thought in an aural context. Decibels need to be dialed high, exposing the consciousness to lurking sonic explosions. This technique of listening follows the path of many classical recordings. A symphony in it's many parts equivalent to Gendreau's subsonic adagio, then the bursting cacophony of a well placed but brief allegro. Then back to again. This is a lengthy composition of four parts. Reading the descriptions of Michael Gendreau's past works and direction, there was an unfamiliar word, "parataxis". After reviewing the definition; a juxtaposition of unconnected things, these sounds do have this quality. Not to the extent of being uncomfortable, but more the the level of maintaining interest. Polvo Seran, Mas Polvo Enamorado is not a violent noise composition, these captured sounds are methodically thought about and delivered with more purpose than what can be understood. Michael and the wisdom of his vast sonic knowledge and love, is in another place. Maybe the low frequency rumblings are the only sounds able to pass through dimensional constraints. It would be easy to label this audio journey as experimental, but this is just a generic term for something that can not be comprehended. Maybe the better term for these selections would be "to be determined" once the listening world matures. For now, Polvo Seran, Mas Polvo Enamorado has depth and beauty in a sonic class little else exists. - Robot Rattle

(Avant Music News) Michael Gendreau’s Polvo serán, mas polvo enamorado [PE 140] is—mostly–an essay in liminal sound. Gendreau is an acoustician working on noise design in built environments; the raw material of much of his work consists of low frequency vibrations and their relationship to the resonances of rooms. His recording features long stretches of sounds that exist at the margins of perception, some of which are more felt than heard. But beware: the apparent silence may be broken by an unexpected and jarring upsurge of loud sounds. - Daniel Barbiero

(Vital Weekly) Over the years I didn't keep up with what Michael Gendreau is doing. From the early 80s to the late 90s he worked with Crawling With Tarts, fluctuating membership group that used quite a bit of turntables that I did hear on LP and CD but after that I lost sight. I read that he works these days as an acoustician "working primarily on low-vibration and noise design for buildings" and that's where his interest also lies as a musician these days; working with "recordings infrasonic vibrations of a performance space", which he uses in concert settings and that makes many of his pieces quite site specific. I guess it is also not easy to translate these recordings into something easily reproduced on a sound carrier, but perhaps the CD is the best one to replicate the sound. There is some very extreme music on this disc. All four pieces are made "using accelerometers in the performance spaces" and easily range from very quiet, almost inaudible to something very loud. In the opening piece "Ghosts Of Logical Reasoning" it is all considerable quiet, with a sort of vaguely obscured rumble going on. In the longest piece, the title piece, Gendreau works very extreme sounds; very quiet and very loud, with bass sounds taking this building almost apart. I leaped up, grabbed the remote and turned the volume down a bit. "Objects Separated By String" seems to have picked some street sounds and acoustic objects, but I easily admit by this time I might have been hallucinating a bit. 'Use with caution' could have been printed on the cover, I think, and since it's not, use my review as an advance warning. These radical differences make that this music isn't easily approached; sometimes you would deem this way too quiet for a long time, and at times you could think this is way too loud (or simply fear for your speakers). It is very difficult to find the 'right' balance in playback, even if that is something you wish. Maybe the element of surprise and scare is something you are after, in which case this is the perfect place. - Frans De Waard

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