Michael Gendreau – Polvo Seran, Mas Polvo Enamorado CD
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Michael Gendreau – Polvo Seran, Mas Polvo Enamorado CD
(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