Quitno returns from his 10-year break with a minimalist 66-minute document squeezed from of a small machine. In two parts.
This is MQ’s second release, after his first album Sleep Over Pieces Vol. 1 in 2007. He’s a friend of Dimitri Grimm, who is currently very busy quasi-existing, and who meets Quitno on an approximate 2 year basis, despite and because of their on-going quarrels based on jealousy and rivalry.
Meetings are always initiated by Misel, out of the blue and usually under some ridiculous pretext, i.e. «Cat has lost all its hair after looking me in the eye. Felt deeply satisfied and scared. Cat needs new fur – can you help me out? M.»
On each of these meetings he hands over some of his music. Some of it very good, some simply… mysterious. One time it was 2 hours of a whistling tea kettle, and on top: a recording of his voice, ranting on and on – with splendid coherence – about the music found in environmental noises, «…meeting John Cage’s hot, but insufferably arrogant daughter in a dream», the sparkly overtones produced by 2 perfectly matching but slightly detuned socks. And trap beats coming out of «digitally enhanced paper towels on the toilet of this one bar I never go to anymore because I’m already there, pretending to explode with duck laughter through my multitude of noses because…» etc.
In the aforementioned fashion, he wrote to Grimm last spring («Can you come have a look at the distribution pipes on my Stensdorfer? It’s dispensing straw. I’m furious.») – and passed him one half of this yarn named Seams of the days or Die Nähte der Tage.
Unlike Sleep Over Pieces, Die Nähte der Tage was created on a single piece of music machinery, a synthesizer made to be programmed with/play back patterns. Misel likes the sound of analogue synthesizers, but he doesn’t own any. Except for a little, blue box he won for cheap around the time. Uh. Spring. Happily he decided he really had to use it, and use nothing else for a couple of months. The outcome is a a 66 minute long, evolving machine music continuum comprised of 128 sometimes more, sometimes less abruptly changing sequences. Arpeggios, chords, signals and textures, steadily flowing through an ominous, wafting, responsive space. Through darkness and light and everything inbetween, drenching the room in a different mood every 8 measures. If this recording is about anything apart from THOSE things, then it is about circles and cycles. And the passage of time (if you look at the nearest clock, you’ll notice that the second hand is always in sync with this recording. For the simple reason that Misel is inside your clock, watching you listening to him).
The outcome appears to reference, by its working and hypnotic nature, minimalist composition based on repetition.
Seams of the days was prepared over a longer period of time and then recorded in one go.
Out October 19, 2016: Misel Quitno – Seams of the Days / Part One