C.D. + Lens Cleaner


the ceiling compania discografica

Side A: 1) Repertorio Infinito 2) Un 80% Dice Que Si 3) Fiestas Voluntarias De Dinero 4) Guiso Superespreso
Side B: 1) Perfeccionamiento Gaseoso 2) Te Usan De Trampolin 3) Poeta No. 3 4) No Esperemos Mas En Vano 5) Perfeccionamiento Gaseoso (reprise)


Hailing from Argentina, The Lens Cleaner Trio is Jose Marchi (guitars), Marcelo Aquirre (percussions and voice) and C.D. (electronics). This LP has its genesis in a live improvised session performed in July 1999 at La Confiteria Humana Durante. The recordings were then disassembled and subsequently reassembled in the mixing room by C.D., "constructing new sound shapes from the various puzzle pieces". The result is what C.D. calls "electro-acoustic rock". The first few tracks on side A are more faithful to the original recordings, with little reconstructive work done on them; dark drumming (fluttering and nimble, with a hint of jazz) is mixed with rough textures from guitar, warped electronics and tape manipulations. The arrangements become more distorted and incongruous the deeper into the LP we go. The balance of elements is lost in place of an anomalous ebb and flow. Echoes of Marchi's guitar will take to the fore in a burst of cathartic energy, answered by the manipulations from C.D.'s processor (sonics which can sometimes last for minutes on end) or a flutter from Aquirre's dense drumming. The finale is an unforgettable maelstrom where all the elements fold upon each other in a final bout of chaos and convergence, thanks to C.D.'s unrelenting hand at the mixing table. Due to its status as a reconstituted improvisational work, these pieces are full of details, unexpected turns, winding roads and blind alleys. C.D. + Lens Cleaner is an impressive record that rewards with every listening, full of originality and a passion for the complex.
Richard di Santo


It'd be interesting to know how LENS CLEANER TRIO pigeonhole themselves - do they see themselves as Jazz Progressives who have left the more traditional trappings of that music way behind and settled instead for clashing guitar, whining noise and Dubby drum treatments? Or do they see themselves as Neo-Classical Abstractionists, building gargantuan monsters out of overdriven guitar and reverberated noise? Or are they post-Industrial sound artists who wish to weave an intriguing and often cacophonous web around the listener? If you can run the album to ground, you could find out for yourself. From clusters of busy noise, through long phrases of harsh, edgy ambient noise, to nerve-grating outbursts, this group go out of their way to make things uncomfortable for the casual listener.

While the majority of the first side is structured and mostly rhythmic, the flip side tends overall more towards shapeless drones and drifts, with only the final two tracks adding their mutant structures of rhythm to the mix, and these only briefly. Subtle it ain't - their mixes are straffed with old school fx which give the overall picture a cold, dehumanized feel - where off-white noise touches the hem of metal, long delays and busy reverbs transmute the result into an icy miasma. They fear not to suddenly wreck what they were doing and speed the mix up to hyperdrive.

If the LENS CLEANER TRIO ever make a bid for International Stardom, they won't be doing it with an album like this. Complex, Surreal and alienating music which deems to use a driving, almost tribal rhythm over which to build their Metropolis of greys, colour-washed whites and textures as rough as granite and as smooth as a mortuary slab.
Antony Burnham


It seems that my opinion about Argentinean experimental music was wrong, I thought that it doesn't exist, but this is already the second Argentinean release that I heard in a short time.

This LP is the result of an improv-session recorded in 1999 by Jose March (guitare), Marcello Aguirre (drum) and C.D. (electronics). This recordings are reassembled to this release.

It isn't easy to describe 'The Lens Cleaner trio'. C.D. calls it 'electroacoustic rock'. What strikes most is the evolution in the LP. Firstly, the original records are followed quit exact what results in an atmospheric but analogue ambient. But how further on the CD, how more the sounds change. The orginal recordings are manipulated much more and the sound is denser. The sound is evolved from atmospheric to a more nervous sound which you maybe can compare with actual electroacoustic music.

The 'C.D. + Lens Cleaner' LP is in any case a very adventurous recording.
Tom Wilks


Lens Cleaner Trio are a group from Argentina who are collaborating with C.D. on this LP from Canadian label The Ceiling. Repertorio starts the first side, with a hard stroke, which leads to a portion of building wet percussion, tapping wood beats, a tumble of sticks and little cymbal flurries. Guitar strings are stroked to give a vibe, focusing slowly into blunt strokes, bringing the percussion into an awkward formation behind it. There is something disjointed but rounded about the way this progresses, a depth to the sound and its pacing giving it a distinct atmosphere. Little flurries and darker suggestions give a different edge, and its clear that this piece is going to keep shifting. Fades slowly and is gone after about 3 minutes. With a hesitant intro comes Un 80% Dice Que Si, subdued swirls of guitar drone, exploratory beats rolling. The roll grows slowly, little flurries flicking off from there. Electric signal and buried grind and continued drone. Sustain and strain play on the guitar level, a little choppiness to certain chords, while tapping hi hat keeps a steady motion. The dynamic builds and the piece suddenly expands in volume, making its presence considerably more pronounced - the sound a droning whole made of agitated components. Ticking off to fade, this opens the way for the bass plummet of Fiestas Voluntaries De Dinero, a tapping rhythm beat building up from within. the beat is regular while the bass and guitar are swirls of sound playing teasingly off each other, with a certain springy vibe adding an oscillating unpredictability. The beats come more to the fore and the remains seem to lose their way some, compressing down to a conclusion. Which allows for the first fizz of Guiso Super Espeso, an echoing clang of a bell adding to that. As that loops the chime extends into a note, sharp edged, little chimes and strokes in its wake. The feel of this piece is fuzzy, the sounds combining in a diffuse structure. another short track to finish this side.

The second side starts with a considerably more dynamic style - Perfeccion Amiento Gaseoso a bass rush and little sparks of scraped percussion. Flurries and trails of sound go whipping past while a note duck whistles and the beats are a deliberate patter. Then there is a pause, stripped down but still tangible, another short track gone. A static hiss starts Teusan De Trampolin, lapping in wave forms. Building up on molecular strands, strips of sound layering and then blipping off, while the static is now more wind and the constant behind the transient fore. A great bass tone announces and drones out. Poeta No. 3, where mechanised swirls play turns of sound, a little clashing edge rubbing the wrong way. This builds to a grinding drone, little fierce elements showing their resistance and the swirl expands in a ragged fashion. Becomes smoother in a windswept fashion with dull, perhaps percussive, pulses shifting beneath. As it adapts to this section the form is more rotary, the swooshing Doppler of a big blade turning and cutting through vapour body. The second last track comes with a different feel, No Esperemos Mas En Yano - a little vocal layered groan and whoop, cloudy bass and springy beats. This has an expansive feel, driven and reluctant, elements of melody hinted within the body. Beats ratchet in repetitive cycles, hypnotic and almost bypassing your attention with the great swirls and turns of more random sounds. The whole is swept away and as that swirl remains there are slight sounds in that. The album finished with a reprise of this sides first track, so the intro is familiar entirely from there. But it builds up a dense form, the whole congealing into one part which is accelerated into a higher flurry and a lower choke. There are catches and the piece falters its way to the albums conclusion.
Peter Morrison


A remarkable release from this Argentinian trio, formed by Jose Marchi (guitar), Marcelo Aguirre (drums) and C.D. (electronics, tapes, synth). They self-define it "electro-acoustic rock", you could call it post rock or avantgarde improvisation, whatever. Side A features improvised sessions of the three performers, with a skilful recording adding a lot of depth to sounds. The jazzy drums are the backbone of the jams, and manage to create a hypnotic feel. I couldn't help thinking of a '70's soundtrack, as these tracks do have a cinematic quality. Side B is much more experimental, based as it is on the electronic re-elaboration of the trio sessions. It's borderline on ambient, with occasional rhythmic samples, but the general feel is colder and less dynamic than the excellent flipside. I'd like to know if the Trio has ever recorded more music, as this is an interesting lp. A plus for great titles like Guiso superespeso or Te usan de trampolin.
Eugenio Maggi


In this issue I seem to be lucky with the artists whose countries have been a blank place on a map of my musical adventures up to now. Argentina's LENS CLEANER TRIO seems to be an ephemera that has no past, and whose future, as for today, is uncertain (actually, the interview I conducted with a guy called C.D. explains little on these matters). So there's only present, and the present is "C.D. + Lens Cleaner" - a debut LP on Ceiling. This release is a document of an improvised session that took place some time in 1999 or actually, of its remnants, because all was disassembled and reconstructed in the post-production session. Playing live with the use of the guitar, the drum kit and electronic accoutrements was used only to record the initial material. Although being heavily treated by sound processing, the instruments are generally recognizable. At that stage, music bears some resemblance to free jazz with its lots of vital energy, or to contemporary music in some places. However, when electronics emerge, a simple plucking of the guitar strings, or a beating of the drums and cymbals assume the proportions of interstellar blasts reverberant in immense space. The music is full of dissonances, distortions, and the fact that it's pressed on a vinyl helps to have a more profound sound at last! Making emotional cascades, group passes easily from structural playing to abstract, ambient soundscapes, avoiding stylistic collisions! A record for countless listens!
Krzystof Sadza


This Argentine group recycles the music from side A by having C.D. (name not given) remix and regenerate (and improve) it on side B with roars and whooshes and reggae dub-like echoey clicks. An interesting cross; free improv, but with the reverb and synthesized sounds common to prog-rock. The musicians are credited with playing guitars, percussion, voices, synth, tape and mouse. Latin America is the home of recycled American autos and prog-rock, and they seem to make both work long past their times. A nice, quirky disc.
Steven H. Koenig


Of course it's appropiate to call your first release 'CD + Lens Cleaner' if the bandname is Lens Cleaner Trio. However to release it then as a LP is a bit beyond me, maybe LP's are cheaper to make? The trio hails from Argentina and their members play guitar, drums and electronics (the latter by the curiously named guy CD), which were recorded during an improvised session in 1999 and then later by means of cut 'n splice re-arranged to what became this LP. It's a very rock oriented album with largely reverberated drums and distorted guitars and a touch of electronics. Slowly as the LP plays on, the sounds become more abstract and albeit more interesting, at least for my taste. Especially on side B things turn out to be spooky with densely layered drones and occassional howls of drums and guitar feedback and really goes about with the sound material. There is a certain air of early 80s improvised music hanging around this record, with touches of P16.D4, DDAA or Nurse With Wound. Quite nice stuff playing here with surprising moments.


Interesting. This is an improvised acoustic session featuring drums, guitar scrapage, and a bunch of light microphone distortion. The finished session was then chopped up and re-constructed to build the better album. They're calling it "electro-acoustic rock." I'd say it's an ethereal hallucinogenic floating the six senses through spiritual fields and chiming rituals to the afterlife. Surely a powerful stimulus for altered states of mind. It's difficult to imagine such a presence emanating from a 3 person improv jam, but I guess that's where the electronic eggheadism weaves its scientific spell. Still, this is as good as dreams. Very clear, expansive, wide-ranged experimental wizardry. A noise symphony of surrealism.
Carnal H. Coitus


A twelve-inch that covers the darker realm of pseudo-jazz instrumental and mutated prog-rock by a trio out of Argentina. The trio, comprised of Jose Marchi (guitar), Marcello Aguirre (drums) and C.D. (electronics), possesses highly skilled musical dexterity to record material and then process their works into articulate madness. This album is the soundtrack to your nightmares; in fact, the sound quality on this album has the distant vast sound that occurs in dreams. Take "Fiestas Voluntarias de Dinero," on side A, which gives the impression of dropping down vast canyons or "Guiso Superespesso," which sounds like someone wandering through a condemned warehouse while mangled wind chimes ring in a burnt-out window frame. On side B, I kept dropping my needle on a bizarre track entitled "Poeta No. 3," which starts off harsh and abrasive to then be stretched out in wide arcs of sound, as if standing next to the motors of an airplane while flying. Despite the innocuous title and name of the group, Lens Cleaner Trio is anything but; this is improv music with sharp teeth.
I. Khider

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