The two long tracks that make up this album were recorded by sound artist Christina Kubisch in 1981 and 1985. The first, "Mono Fluido," is a reworking of material originally recorded for a film soundtrack; its source material consists of analog recordings of flutes, a windshield wiper, tubes being whirled in the air, glass, and the composer's voice. As mixed down and manipulated by Kubisch, the sounds become layers of drones with microscopically subtle rhythmic undertones; to listen to this piece on open-air speakers is to find yourself wondering where the recorded music ends and the noises of your environment begin. Imagine a blend of whale songs, alpenhorns, and conch shells layered with the faint sounds of breaking waves and the chittering of mechanical birds in the background -- fascinating and strangely moving. "Ocigam Trazom" was designed as a sound installation for an exhibition celebrating Mozart's opera The Magic Flute (read the title backwards; get it?). Kubisch's installation allowed listeners to walk underneath a network of cables wearing specially designed headphones that produced different sounds depending on the listener's location (each spatial and sonic zone representing a different character in the opera). Recognizable sounds include the chirping of birds, the voice of an opera singer, a muezzin performing a call to prayer, sine-wave glissandi, digital bells and flutes, and boinging Syndrum tones. The result is a fascinating collage of familiar and unfamiliar noises.
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AllMusic Review by Rick Anderson