Genre: Experimental / Electro-acoustic

See Phroq for more information

1 Eagle Keys Part one
2 Eagle Keys Part Two

Three continents get representation on this disc of two intriguing tracks. Francisco Meirino is based in France and may be better known to some by his project moniker Phroq, under which he has been recording since 1994. Quite active as a soloist and collaborator with the likes of Guilty Connector, Sickness and Cindy Van Acker, here is is credited with 'computer and acoustics' and seems to be the architect of the resulting sonics. Electric bassist Tim Olive is a Canadian-born/ Japan-based experimentalist who made a splash in recent times with the Supernatural Hot Rug And Not Used project (with Nisikawa Bunsho) and has also collaborated with Nimrod and Fritz Welch of New York's inimitable Peeesseye.

It's hard to discern if this is a live/real-time collaboration or if Meirino is simply reworking the pre-recorded sounds of Olive's bass, but that's really neither here nor there. Olive's table-top approach to the bass as an amplified sound source renders his instrument's trademark sound all but obsolete. At times idiosyncratic characteristics of the bass are clearly audible but are subject to such a colorful array of treatments and juxtapositions that this could easily be mistaken as purely electronic music.

The first track clocks in at over 34 minutes and is a fine example of concrete music in the digital age. Sounds scrape, crackle, bump and roll across the stereo spectrum like a sampler engaged in a game of gravity-defying ping-pong after having a contact microphone rubbed along every surface of your home. It's these types of sounds and recurring drones that comprise the material for this piece and give it cohesion. The drones sound as if they could be amplified electrical grounding hums or perhaps some ambient room feedback. Dramatic effect is achieved by sudden bursts of silence and something akin to Olive's bass being run over by a truck. One particularly fine moment occurs about three-quarters in when a gentle loop of static is introduced with the drone over which some natural overtones swirl in contrast to the string scraping of the source material. This passage serves to tie everything together until the track reaches its dynamic climax and concludes with a sedate coda. It's not easy listening by a long shot, but never ceases to engage this listener in wondering what will come next. Pierres Henry and Schaeffer would be proud of their countryman Meirino.

It's on the second track where Meirino's credited 'acoustics' become evident. Small bell-like sounds give way to piercing high frequency tones that dance over some rustling fuzz. This sets the stage for a very pleasant 15 minute electro-acoustic workout. It's hard to tell at times whether we're hearing a mbira, some wooden mallet instrument or prepared bass. Either way it's processed tastefully and ultimately has more of an improvised feel than the first piece. This one's constant stream of sound contrasts nicely with the angular edits of Part One.

There's a lot to be explored with both Meirino and Olive and 'Eagle Keys' is as good a place to start as any. Considerable mention should be given to the visual artist Marc Bell of Canada for his original, if whimsical, artwork. His ambiguous severed objects and cartoon-like illustrations suit the music well, for they both have a mischievous and mysterious quality. Bell's contribution seems more collaborative than decorative in his four panels.

Perhaps overall a bit obtuse, but still recommended for those who might fancy another Frith/Ostertag collaboration. Limited edition of 500.