bbcd07 rsundin lorez plaza / limp 2CD
ltd.500  $12


disc a:lorez plaza

01.  a          06:52

02.  b         10:06
[mp3 except]
03.  c         07:28

04.  d         07:11
[mp3 exerpt]
05.  e         09:49

computer processed fieldrecordings. low resolution,
static and meditative. recorded spring 99@KIT
thanks to a.berthling


disc b: limp

01.   oo          01:03
02.   oa          02:02
03.   q            03:18
04.   p-p         03:09
05.   2ftt       04:20
06.  no/ftp    02:02
07.  dmg        01:54 [mp3 excerpt]
08.  digidub   01:33 [mp3 excerpt]
09.  cipph      01:46
10.  oocl        00:29
11.  22_79     02:14
12.  zzap        01:08
13.  intld.       00:43
14.  dego       04:25
15.  moot       02:32
16.  dadl        02:06
17.  voxa       01:20
18.  trd.lo      02:02
19.  graz       01:36
20.  stud       02:45
21.  lote        01:55
22.  nsk        01:11

live improvised signalprocessing of various soundfiles. minimal. chaotic and charming.
recorded spring 99@KIT, norway                             thanks to a.berthling + k.augustsson

review from Vital Weekly 189:

R. SUNDIN - LOREZ PLAZA/LIMP (Double CD on Bonbonrecords)
Knowing that Sundin is the main man behind Bad Kharma, this work may come as somewhat of a surprise. With very low volume pieces, this is very different from Bad Kharma. His solo debut on Bake Records already gave an indication of the direction that his solo work takes, and that indication seems to hold partly true. The first piece on Lorez Plaza basically consists of a couple of pulses, one in the mid frequencies and one in the low, with a soft screeching sound added. Later another pulse takes over from the screeching. Sounds simple and yes, it is. But the way the stereo spectrum is used makes it a pretty unnerving affair, especially on the headphones. In all its simplicity, this is a strong piece. The second piece starts with an 8-bit sample embedded in an environmental soundscape and creates a paradoxical atmosphere: very close and very distant at the same time. Later tiny bleeps are added, which really invade this spatial tension and also function as a bridge to part two of the piece, in which a soft, distorted loop takes over. Again a very sober, but effective piece. Track three is of a similar character, starting off with a repetitive sound, again sounding as 8-bit. And again there is something almost imperceptible in the background: some space, disconnected from the sound in the foreground, but gradually gaining more presence. After some time all sounds become louder and more intense, not all at once, but each individually. But we're still talking low volume here. During the piece the emphasis shifts very slightly from one sound to another and then it suddenly ends. The next track starts with an environmental recording and some samples to which later a very low and pulsing drone is added and also a very soft high tone. These ingredients alternate during the piece, until they all stop at once, to be followed by one more high whine. The fifth and last track on the first CD begins with an almost inaudible stereo rumble, to which a hiss is added very slowly. Later more sounds are added, all in very low volume, that seem to creep through the head, from one ear to the other. These sounds are left to play alone in the end. This stuff really requires attention, not unlike the music of Francisco Lopez or Bernhard Guenter. These references may seem obvious with this sort of music, but Sundin has defenitely got his own style and his own sound. The second CD, Limp, contains 22 tracks, and is of a different nature. It seems that most of the tracks are based on dance music, that has been deformed, cut up, looped and randomized. Additional sounds and samples are used to create breaks and intro's. Most tracks are about two to three minutes in length. The sound is pretty weird and, if I may say so, quite nordic. This disc has a bolder character than the first one, which is quite gentle. It took me a while to get used to, but when I got the hang of it, I really enjoyed it. In a sense, both CD's have the same strange and somewhat alienated atmosphere. Defenitely not easy listening and therefore recommended.(MR)