FRANCISCO MEIRINO "The Aesthetics Of Everything For Nothing"

Label : 1000 Füssler(Germany)
Format : cdr 3' - printed cardboard cover - Ltd 60 copies
Released : november 2014
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That piece explores the sonic possibilites and audio-aesthetics of toddlers toys. By using binaural microphones, sharp editing and some pitch and resonance treatments, I was able to record and use all the rattle elements, the small motors and tiny bells that are hidden inside those toys.


We need no Swords / UK

Each release is interesting and compelling in its own way, and while they occasionally seem to explore similar interests – which I'd suggest is something to do with the repurposing of everyday objects into mysterious sonic artefacts and integrating them into a series of shifting, electroacoustic collages – all three exist entirely in their own space and are well worth checking out.
Francisco Meirino's The Aesthetics of Everything for Nothing takes as its starting point the sounds made by children's toys, recorded close up with binaural mics and edited into a seamless, flowing blanket of noise.
I'm not normally a fan of this type of work – all too often it seems to be a case of winding a lot of things up and listening to them clack and whirr until they stop. I've heard enough of that when my own children were small so I figure I don't need much more.
However, there's something about the Meirino's composition that marks it out from all those other wind-up merchants. I think it's a combination of the detailed recording, which renders the subtleties and variations of the toy motors in hi-def clarity, with Meirino's own meticulous editing and post-production, that just lifts this piece into an almost Futurist sonic collage.
I particularly like the opening section, a series of rustles, ticks and grazings that sound positively unearthly, like cyborg dinosaurs hatching from vast eggs. Then at around eight minutes, there's a lovely disorienting passage of overlapping thrums and clacks, which drop out abruptly in place of a mournful metallic ticking, before things blast back in for a final cacophonous section of phased drone, The Nutcracker meets The Art of Noises.

Paul Margree, january 8, 2015,

Just outside / France

The sound sources for Meirino's intriguingly titled piece are toys, recorded very closely (inside, even, one gets the feeling) and edited into an 18-minute composition. The sound-world is vast and active, replete with squeaks, deep thrums, crackles and much more. I often have a sense of wandering through a dense jungle. A loud but brief cascade of bell tones leads to a lovely clearing where, past nearby rustles, one hears more distant sets of bells, of metal balls scurrying over wooden surfaces--a wonderful few minutes before a rather harrowing storm arrives, with a harsh, shimmering wave oscillating from speaker to speaker over what almost sounds like an old wooden pier straining and groaning against the surf. This subsides, a warning-light buzz and a few raindrops lingering, before another of those bell ripples closes things out. Impressive, immersive and very enjoyable.

Brian Olewnick, Just outside, February 07, 2015

Bad Alchemy / Germany

Seinem 'Focus On Nothing' (auf Aussenraum) lässt FRANCISCO MEIRINO (vor dem Kuss bekannt als Phroq) hier gleich The Aesthetics Of Everything For Nothing (1000füssler 026, 3" cdr) folgen. Sein Spielmaterial dabei war Babyspielzeug, das er in eine huschende Armee winziger Aliens verwandelte, aufgeblasen zu XXL-Protagonisten und -statisten eines Goblin-Blockbusters. Jede Ritze eine Schlucht, jede Wollmaus ein Nebelgebirge, jedes Geräusch ein Krabbeln unzähliger Spinnenund Ork-Glieder, jedes Schleifen und Tickeln ein Kieferwetzen und Zähneklappern. Jede Aktion im oder ums Laufställchen herum ein Rollen von Belagerungsmaschinen, ein Kullern und Kreiseln herodischer Wunderwaffen, einschließlich einlullender Psychostrahler, brausender Druckwellen, sirrender Lufthächsler und ordinärer Hackebeilchen. Holz tockelt gegen Holz, Feldherren würfeln mit Knöchelchen, Stoßtrupps kaskadieren. Und plötzlich ein Klingklangsignal und alles erstarrt. Stillstand macht unsichtbar. Denn Vater schaut nach seinem "Schatzzz".

Rigo Dittmann / Bad Alchemy 84