Reviews

If something is open for rework than it must be Francisco Meirino/Phroq '77 Sound Objects' - actually it's 76, all quite short and they are used in a big collage form in the first piece, the 77th sound piece. Phroq didn't alter any of the original sound files, but used them in a straight forward manner, although I believe they are layered as such. In the first piece Phroq moves between all the usual suspects of his work: from quiet scratching the surface to very loud eruptions of noise. A very solid, if somewhat unsurprising Phroq work. He's good at creating works like this, but perhaps they sound a bit the same. The 76 soundfiles are equally interesting to hear and perhaps for the more adventurous listeners something to re-use, or even try and re-create Phroq's first piece.
Taken from Vital Weekly

"77 Sound Objects" is just as its title suggests, the first 22 minute track manipulates and sculptures with 77 sound objects, to make a dense & often explosive sound world that’s somewhere between electroacoustic, Musique concrète, noise and ambience. Then tracks 2 through to 77 use the unedited pure sound files, with the gaps in-between the tracks as part of the composition.
The first long track takes us through a very varied textural sound landscape going from dry drones, to abrasive scuttling, environmental sounds such as water & bird sounds etc., odd rhythmic deposits, sudden jerks of seething noise, twist and burns of hot noise and all manner of strange sound matter both organic and electronic. All moulded together to make an invigorating and often atmospheric trip. The next 76 shorter tracks take the jerking and distorting elements to its extreme with sudden shifts in texture and sound depth, which by the end of the album's running time leaves the listener rather bewildered and shell-shocked, using the gaps between and silence itself as a very effective compositional tool.
From the album's description it sounds like it should be rubbing shoulders with more academic takes on noise and sound composition; while this is true to a small degree, for the most part this comes off as an invigorating, brutal and strange ride.
Taken from Musique Machine

Francisco Meirino requests that the listener experience this entire disk in one sitting. No problem; I nearly always do this as a matter of principle, barring unexpected interruptions. I love the idea of two pieces embracing 'the same sounds, two different composition approaches' in a Cageian sense, but that's clearly not the case here. The first track is a twenty-three minute composition using material from the remaining seventy-six tracks. The latter are the source material for the former and are presented as such, raw and unprocessed, and in my opinion do not a composition make. I'm not trying to step on anyone's conceptual toes here, but it should suffice to say that the source material is what it is and not an independent work of music. I'm an admirer of Meirino's work as Phroq as well as his collaborative efforts and this first track, or object, is why. I appreciate the inclusion of the soundfiles and can only hope that part of the intention is for others to have a go at them.
This electroacoustic composition was realized via a graphic score which appears to be some sort of mixing matrix. How the arrangement of the seventy-six soundfiles were determined is, however, not specified. How much was deliberate and how much was left to chance ? There are a wide variety of timbres and textures employed from acoustic field recordings to the purely electronic, both digital and analogue. Some are loud and others are nearly silent; some are harsh and some are almost soothing. At times, it's a bumpy ride with some of the juxtapositions more than a little unsettling, but never gives an impression of restlessness.
I prefer the longer passages with little acoustic bumps and scrapes riding alongside subtly modulated electronic drones. This is in greatest evidence throughout the first few minutes and during the bulk of the second half of the work. The section that enters around the five minute mark is a great bit of microsonics with all sorts of quiet clicks, flutters, pings and whirls before a quick and abrasive burst of energy marks the the halfway point. The final few minutes are based around a repetitive thump and a throbbing bass tone that gave me a sense of expectation for some sort of finale that never arrives. This is not so much a disappointment as it is an appropriate conclusion to a composition that maintains an edgy character throughout.
Although I thoroughly enjoyed this, I doubt I'll be listening to it very often. It lacks a certain warmth that characterizes a lot of system-based music like serialism. The sounds themselves are quite appealing, but there's a sense of continuity missing that I can't quite put my finger on. There are only seventy-seven of these packaged in a white box, each with a unique color photograph. If you can obtain one, be sure and play it at a decent volume. Some of the frequencies are nearly inaudible and other sounds are extremely subtle, but deserve to be heard.
However be careful because when it gets loud, it's really loud. And if you're reading this Mr. Meirino, drop me a line because I'd like to have a bit of fun with those other seventy-six tracks.
Taken from Heathen Harvest

Cipher Productions is also a label and here's a CDR by Phroq to prove it. One 20 odd minute track of DSM like explorations followed by 76 tracks of a minute or less apiece of random blastings and splutterings. Their list also carries CDs and cassettes by Japanese giants as Aube and Gelsomina as well as other such noise luminaries as English industrial miserablists Mlehst and an Australian only cassette comp. Worthy of your time and effort.
Taken from Idwal Fisher #8