vokál consists exclusively of spoken samples. no other material and no other instruments were used. every bass drum and every synthesizer seeming sound was once a word, a sentence, or an utterance. sixty minutes of pure language that doesn't sound like language.
vokál is both electronic music and digital micro-cut-up-text, ranging from a complete rejection of linguistic sounds to somewhat understandable babble. at one point, entire words or even sentences are audible, then only short, individual fragments emerge on the click and cut carpet, to once again disappear and make room for something new.
public idiots from media, art, politics, and business are allowed to speak and are then immediately silenced. the sequencer and jörg piringer determine what is to be said. on the other hand, the digital stuttering is constant. in this way, the semantic-suggestive connection is broken through, making the pure linguistic gesture audible. the word and utterance, liberated from sense in this way, through parading on the surface, seem to say what the speaker might have really meant. no additional statement is necessary; the speakers reveal themselves.
jörg piringer is a musician and visual sound poet. he is a founding member of the institute for transacoustic research and a member of the first vienna vegetable orchestra.
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A millipedic split between unshakeable mannerisms, spoken word poetry, an ambience that is as asthmatic as it is radiation damaged, Beuys-ian corruption, phenomenology, cancer of the larynx, drippings, sound torture made mild by age, speech therapy, compositional crazed rampage, and aleotoric self regulation, research, Viennese knarzertum, free form-freak-in, electroacoustic loss of reality, and pop, that, too.
(Frank A. Schneider, Bad Alchemy 40)
