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Bijou

3.7 3.7 out of 5 stars 2 ratings

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Audio CD, November 15, 2005
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Track Listings

1 Roll 'Em
2 Perp Walk
3 Closer, Closer
4 Encasement
5 Illegible Proposal
6 In the Hold
7 Dementia
8 Scene of the Crime
9 Emergency Response
10 Air One/Recovery
11 City of Industry
12 BZZZZT!
13 Unfortunate Incidents
14 The Cringing Unknown
15 Phoning Home
16 The Return of the Cringing Unknown
17 The Doktor Is in
18 Abstractions Unchained
19 Abstractions Unchained Director's Cut
20 Contraptions (Short)
21 Dark Funnels
22 Underground Ops
23 Underground Ops Redux
24 Machine Mystique
25 Battle Finale
26 Credits
27 Wrap

Product details

  • Product Dimensions ‏ : ‎ 5.59 x 0.39 x 4.92 inches; 3.53 ounces
  • Manufacturer ‏ : ‎ Rer
  • Original Release Date ‏ : ‎ 2005
  • Date First Available ‏ : ‎ February 12, 2007
  • Label ‏ : ‎ Rer
  • ASIN ‏ : ‎ B000BJ63A6
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    3.7 3.7 out of 5 stars 2 ratings

Customer reviews

3.7 out of 5 stars
2 global ratings

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Top reviews from the United States

  • Reviewed in the United States on January 27, 2017
    Although this one isn't a typical sounding Tod Dockstader album ,as in "pure" electronic sound, it is a fun project that sounds like a movie soundtrack to some sort of horror film. Where this succeeds is in that Tod was a sound-effects man in his past, and his knowledge and ideas from his past jobs helps this to truly be a mysterious sounding album for a movie in your mind. Recommended for those of you wanting to have a little scary music in your life.
  • Reviewed in the United States on January 16, 2015
    I suspect a truer billing for this CD would have been “Bijou - by David Lee Myers (with some assistance from Tod Dockstader).” Dockstader seems to live in a more abstract and rarefied upper realm of the audiosphere than “Bijou;” he has a rather distinctive style and barring some radical changes while working on this CD, I’ll venture that this is really Myers’ main feature up there on the marque, with Dockstader only showing up for a (strong, as usual) matinee short. I try and remain balanced, following the “what was the artist trying to do, did they accomplish it, was it worth doing?” guidelines, so my disappointment here may come from me having walked in expecting more TD than I got, but I do think the “was it worth doing?” question leaves this disk wanting.

    This is much more a collage work of sound rather than a real transformation of sound, a working to find the sounds within a recorded sound, like Burrough's tape recorder experiments for example. Collaging is fine enough, but more seems to emerge (at least for me) when these effects extend into transformations, which is what i suspect TD more about as well; without his influence I’d probably found this much less interesting and have graded this much lower.

    I’d describe “Bijou” itself as some treated tones and tonal sounds which ably stand in for “mood music,” mixed with untreated (or nearly untreated) foley-esque samples of animals, natural sounds like breathing, footsteps, and so on. Some mentions about “Bijou” that I can find around the web describes it as evoking a sort of hazy illusion of a TV show or movie, a pretty fair assessment (especially if David Lynch was somehow involved, ha ha). It’s not a bad concept, but somehow it feels kind of like a lower target than usual for Dockstader.

    It also doesn’t really catch fire either; you can find some some sparks, glowing coals and small open flames, but I’m not sure that’s enough really, not at this price anyway (which is wacky-high compared to some I found elsewhere, but I did pay that high price at the time, worried this was rare, nearly out of print and perhaps destined to become vanishingly hard to obtain).

    Don’t get me wrong, I have experience with this sort of material - this is not one of those “what the heck kinda noise is this stuff anyway?” newbie reviews. I’ve spent a lot of time enjoying Throbbing Gristle, Dockstader’s original vinyl works, Burrough’s tape experiments, very early musique concrète recording and so forth. That in mind, I found stretches of “Bijou” brought little more to the table than “musique concrète easy-listening” - fine enough to read a book by but not original enough to make you sit up and furrow your brow between the pads of your headphones as you carefully listen for and study each nuance and sonic revelation. I’ve never released any musique concrète professionally but I’ve produced many, many hours of the stuff as a hobbyist and if some of “Bijou” had unspooled off my own tapes, I’d probably have rejected it for being perhaps a little self-indulgent or (worse sin!) just not interesting enough. Then again, I may be too judgemental or be expecting too much.

    The real flashes of interest found here are those moments when we’re getting a solid, equal balance of the two artists, but that doesn’t seem to happen often enough, leaving the rest feeling almost like… well, “filler” is really too harsh a term and I wouldn’t go that far, but then again neither does “Bijou.” It’s hard to fault a marshmallow for being too smooshy. I rather like marshmallows and can’t fairly downgrade this for being just another “marshmallow,” but I can fairly point out that I’ve had better, even startlingly good ones before. And when one of my favorite marshmallow crafter is involved, that I was hoping for more.

    I think I'd recommend "Pond" over this one, based upon my initial listens. I bought them both at the same time and although I haven't given that one a serious going over yet, on first blush it came off as much stronger and stranger work than "Bijou."