|Tzesne | "La Carne"
TRB.013 | 2008/09/12 | CDR
1 La Carne
recording & mixing
2004 - 2007
mastering & graphic
Themistoklis Pantelopoulos, August 2008
"La Carne" finds Tzesne in high moods, providing a full-on conceptual work for Triple Bath. The 31-minute theme-titled "La Carne", deals with dusty aural environments and deep, crawling, electrified drones. It was composed and produced between 2004 and 2006 as an outcome of a long season of "meat manipulations" during audiovisual performances. The second piece, "Exploraciones" is a 25-minute reconstruction of "La Carne" by Argentinian Luis Marte which consists of hissful drones, manifesting the windy environment in which it was created, in Buenos Aires. Last, there is "Additional", a 15-minute field recording of slaughter, extracted from a discovered videotape that inspired this work. The uneasy, uneven sonic settings of the album, although hardly decipherable, are recognizable to the bone for the followers of the Basque scene.
Dmitry Vasilyev | IEM | June 2009
Tzesne is a band from Spain, Basques land, it earned some good attention after releasing the debut 7" record on the celebrated Drone Records, showing them the right way. Unfortunately, all following Tzesne albums were released in very small editions, but they are still accessible here or there, making people curious of what's going to be next. So, this project exists since the late 90s, released about 10 albums so far (on CDR and netlabels). Physical copies can be purchased from Mystery Sea, TIBprod and their own Series Negras label. "La Carne" was published in 2008 and consists of three long tracks. The first one is about half an hour long and evolves like dense, multilayered and sinister drone ambient - the musicians says that it's recorded in process of manipulations with meat, for the same titled performance. Not so clear for me what does it mean, but my impressions tell me about some nightmare dreams where I was confined inside the mass of garbage and flesh that is evergrowing and exterminates any possibility to escape alive. This piece is divided into several parts, which are characterized by changing levels of athmospherics and intensity. The second track is in fact reconstruction of the first one, made by the argentinian artist Luis Marte, presenting the same view under a different angle. And last one, the 15 minutes long field recording of a slaughterhouse, extracted from the videotape that influenced the whole work. This is the perfect soundtrack for the real industrial thriller - you can hear the reverberation of the big room, some metallic roars breaks the inhuman silence, but sometimes also blurred voices throwing in, followed by the screams of animals. Quite depressive mood here - even if you are not aware of the story behind the album, it makes you feel uncomfortable and can serve as a really disturbing journey, especially for those loose vegetarians who promote their hype over there...
Frans de Waard | Vital Weekly | issue 652 | November 2008
Much younger and more active (than Michael Chocholak - also reviewed on that issue) in the Vital world is Tzesne from Spain, who already has a string of CDR and MP3 releases. 'La Carne' means 'meat' and has three lengthy pieces. The first one is the title piece, and then a 'reconstruction' by one Luis Marte and an additional piece, called 'Additional'. Tzesne too operates inside the world of ambient industrial, yet where Chocholak (also reviewed on that issue) is a bit more ambient, Tzesne would be a bit more industrial, but the margins are quite small. The title piece starts out in a more heavy vein, but takes back gear and very slowly builds again. All built from what seems field recordings and lots of electronic processes. The remix seems to follow the same course, but does things a bit quicker. I am not sure if I think it was really necessary to release this piece. It's not bad, but a bit superfluous. Which perhaps also can be said of 'Additional', even when that seems to be made from just field recordings. The total is a bit long, whereas with just 'Le Carne' it would have been a fine release too. More is not always better.