With/Without Cartridge, Double 3" CDR, Balloon and Needle, 2007.
Review by Startling Moniker
Fantastic turntable work from the Balloon & Needle label boss Hong Chulki, who has lately joined my personal pantheon of favorite turntable improvisors. One of these days; he can join Otomo Yoshihide, Christian Marclay, and Martin T?treault for a box set and I can die happy.
Until that day, there’s “Without Cartridge, With Cartridge,” which surely goes about as far as one can with a turntable. Packaged uniquely on either side of a cardboard disc, this double 3″ CDR keeps the “haves” and “have-nots” separated? very nice for those of us who like to contrast the two.
Starting “Without Cartridge,” Hong still manages to generate a surprising variety of sound. As Hong’s full approach for both discs is to play without records, I’m assuming these are all produced from dragging the tonearm remains across the turntable itself in some fashion… though in the end, I’m unable to fully understand how many of these sounds arise. Regardless, it is a much more full sound than I would have guessed? in some ways, even more interesting than the “With Cartridge” half!
Track two goes a long way toward explaining why? these electronic shrieking noises are incredible! Filled out with ringing tones, like bowed glass at high volume, this is a torturous ride. The third track is equally absurd; at some point, listeners just have to sit back and let Hong skullfuck both earholes.
For the “With Cartridge” disc, a more usual gamut of possible sounds are explored? needle drops, slipmat scrapes, fingers against the needle, even electrical problems become “opportunities!” There’s also a good range of more unexpected noises? the intense blasts of screeching metal-on-metal sounds near the end of the second track, for instance. At times, I wonder if Hong is employing anything but the tonearm itself, as the circular looping nature of the turntable seems to vanish. Perhaps Hong has liberated it for play on other surfaces?
“Without Cartridge, With Cartridge” is a surprisingly vital set, not only due to Hong’s instrumental prowess, but for the quality of the improvisation itself. What could have been a cold documentation of the technical limits of the turntable-as-sound-source is instead a well-structured work in its own right, and worthy of more than listeners’ simple curiosity.