01. op.10218 v1.2 #1
02. op.10218 v1.2 #2
03. op.10218 v1.2 #3
Pal Toth alias én is a Hungarian sound artist and radio producer, living in Budapest. In the frame of his radio programme, we can regularly hear what he calls « ether concerts », compositions made to the medium itself and comprising an improvised (real-time) method of editing, Pal Toth confronts the listener with an evolving sense of time and duration that transcend questions of musical form to focus in the idea of shape, in the potentialities of a sound representation as stream of consciousness.
He was the programme editor of Illegal Radio Forbidden between 1992-93 and from 1995 as the member of (legal) independent Radio Forbidden from week to week already 6 years he prepares his programme « No Wave » presenting the today’s experimental and electro-acoustic music inclanations. Since four years, he gives concerts and participates in artistical events, he mixed music for contemporary dance production and makes sound installation as well. In the frame of his programme, we can permanently hear « ether concerts » presenting his own electro-acoustical musical compositions. Regarding the improvised method of editing, his compositions takes from music concrete, from plunderphonics and from sound art as well. (Sirr)
Welcome to the sound world of Pal Toth, aka én, where nothing is quite what it seems and your only tool to figure it out is your imagination. Toth leaves no liner notes, no track titles, barely an album title and artist name that say so little they might as well be missing. Even Marc Behrens cover artwork gives the impression of a trace left by something missing: huried scribbles on a piece of wood on the front and the markings of four pieces of scotch tape that once held in place a square of… something. Each of the three lengthy tracks presents roughly the same materials using the same method. Ambient sound recordings (the hiss of a room), the klang of metal on metal, creaking doors and floors, etc. are placed like objects in a vast, echoey room. They move slowly and are treated in a way that slightly alters reality so as to make further treatments (time stretching, reverb) sound plausible. Early on each piece leaves a lot of room to silence and very gradually fills up its space, then ends with a bang (a door slammed shut or a final reverberating klang). It seems that the artist aims at giving the impression of static movement despite an obvious rise in activity and decibel. Op.10218 requires your full, undivided attention if you don’t want it to disappear into the background noise of your everyday life. If you hold on for the ride, it will unfold like a walk around a sinister haunted house. Just don’t expect tacky sound effects. (François Couture, All Music Guide)
Pol Toth creates an ambience of solitude and timelessness in the first track, as if you are listenening to desolate soundinstallations in huge empty halls. Sudden waves of intense sound make clear that there is more to it. Invisible creatures create some vague metallic rumbling. The second track seems to be recorded somewhere outside, where the weather mixes with hums from various sources and metallic noises. A distant wall of sound on the boarder of hearablity, like the sea of the other side of the dunes. The third track is one with interruptions and dissonances. Again the metallic noises, like a prepared piano can be detected. The overwhelming solitude from the first track is present again, creating an evolving sense of time and duration. Even when the music becomes more intense and darker at the end. (Phosphor Magazine)
FR Alors ça, ça me parle davantage que le pouet-pouet du précédent message (ouf).
ENG Following our previous post, here’s the exact opposite. There’s no place like home…