Nozzle: CD Asphodel ASP 2017
"Nozzle is Laminar's first full-length recording for Asphodel. A dense, explorative and compelling collection of contemporary DSP techniques using an realtime iterative functional synthesis compositional methodology, Nozzle's starting point is the investigation of nonstandard synthesis routines for creating music. As a whole, Nozzle is based on iterative functional synthesis and asynchronous granular synthesis, which involves developing musical structures by manipulating interactions at the sound-particle level. The sound textures of Nozzle move from order to disorder to outright chaotic, all the while blurring the fundamental separation of sound and structure. Periods of stability are frequently interrupted by sudden and erratic events. The musical results are hectic, explosive sound gestures alternating with dense states of slack which express the fundamental physicality of sound."



[ Play excerpt of Burst ]

Track Listing

1. Repulsion (8:17)
2. Trap (5:42)
3. Shear (6:46)
4. Burst (5:43)
5. Boil (8:28)
6. Nozzle (8:17)
7. Surge (6:13)

Available at:
http://www.asphodel.com/artists/view.php?Id=24

"All told, Nozzle features texturally dense and arrhythmic music whose mercurial compositional unfolding suggests the kind of seeming randomness one associates with molecular activity. Spectral atmospheres of vaporous calm are abruptly overturned by explosive blasts, the churning and industrial sounds of grinding machinery attesting to the music's physical qualities. Only with track seven does a discernable beat emerge but one that's quickly smothered by ghostly rumblings, blasts, and whistling squeals. There's no question that Nozzle represents sonic adventurousness and, on a technical level, Szymanski's work certainly impresses for the boldness of its unsettling explorations. It's a work that you can appreciate and admire, but not necessarily enjoy being subjected to."
Grooves magazine 012, Ron Schepper


"It should be no surprise that Laminar's Nozzle was released by the Asphodel label, because the album's intense acts of digital audio synthesis - rough tumbles of static thunder, shards of clashing sound elements, voices treated twisted there and back again - hence share a home with the work of Francis Dhomont. Like Dhomont, Laminar (born Fred Szymanski) creates through-composed ventures that toy with the experiential references of found sound. That is, though emphasizing the abstract, he allows for moments that seem familiar: a human cry, a rush of water, a door creak, a rattle's shake. Perhaps all of those are merely aural illusions, the brain's attempt to make sense of Laminar's momentum-charges rush of sound, like on "Trap," which ruffles for a minute and a half before exploding into a crunch that a solid metal band, a Godflesh or a Slayer, would envy, only to get fairly musical with subsequent bass-level cycle of thuds. "Surge" builds rough gauze from microparticulates of sound, while "Burst" manages a unique thrill: hovering well below anyone's idea of a pain threshold, it still seems like at any moment it's going to make a serious leap. Such tension is at the heart of Nozzle: that at any moment it may turn on full blast."
ei Spring 2005, Marc Weidenbaum


"Critically acclaimed for his interpretation of Xenakis’ Persepolis, which previously appeared on Asphodel, Fred Szymanski, aka Laminar, has now delivered a full-length on the aforementioned label. After having previously released material on Staalplaat, Soleilmoon and JDK, Nozzle provides a full-lengt presentation of Szymanski's investigations of nonstandard synthesis routines for creating music. Along the lines of Xenakis, who has thoroughly developed stochastic compositional methods (among other mathematical compositional techniques), Szymanski creates sonic fields that modulate and develop over time. The individual sound particles seem to engage in odd engagements, only to come to rest after having created the occasional outburst.

Szymanski delivers extremely dense and developing compositions that are demanding. Although the pieces sometimes sound like Autechre fooling around with their latest Kyma patch to date, Szymanski is able to create a densely populated world of genuinely inventive sounds that do really hold one's attention, unlike the aforementioned duo's recent output that sometimes seems to be the lonely witness of people lost in experimentation. Szymanski however rides his self-created waves very well. An evoking and extremely nice collection of schizo-DSP, but not for those with a short attention span."
Phosphor Number 114 MvK