... on closeout for only ::
back in stock as of
september 4th, 2012
first in stock on
june 13th, 2011
|amish (usa) #ami 033 lp|
required wreckers (usa) #r/w 3 lp
ben vida / keith fullerton whitman “splitaggregatepulseripper (damaged iiii) b/w 080114” long playing record
- ben vida - aggregatepulseripper (damaged iiii) (11:31)
- keith fullerton whitman - 080114 (18:20)
|june 2011 release ; third vinyl-only release in amish’s “required wreckers” series, offering a studio piece from ben vida (the first issued evidence of his switch from a keyboard-based moog voyager-centric setup to a computer-controlled eurorack modular) & a live piece from myself (making this the third in the “split series”), about which ::|
great gig, still one of my favorites ; something of a "stone soup" event centered around the arrival of serfs from the uk. greg kelley set up a bill with heathen shame (wayne & kate from twisted village / major stars / magic hour & greg himself) & dan lopatin (just post-astronaut breakup, when he was still going as “dania shapes” or maybe already "magic oneohtrix point never" ; a reference to the boston soft-rock magnates) ... i had heard serfs on a singing knives comp & was intrigued enough to offer to schlep my gear down the hill ...
chronologically, this was the fourth of the solo synthesizer sets ; the theme here was economy ... i made a point of using each cv-source in as many ways as possible. throughout the recording you can clearly hear people talking in the room (even as this was in the days before gerry decided to tear down the wall between the bar & the stage) as well as sound coming from different areas :: a small, battery powered speaker on stage right, the giant barbetta on stage left ... each speaker was being fed a different patch respective of its frequency response ; the high, squeaky hysteresis is all analogue (from two of the limewire modules run in a feedback loop) & the loud, buzzing pitched noise is all digital (zorlon cannon, clocking itself via a cv-feedback loop with a sample & hold circuit in the send) ... a single master-clock is timing all events ; the same noise-source that's feeding the timing events is also generating the quantized "melodies" near the end. the only effects (other than the extensive use of wave-form geometry modifiers) are the 4096 bbd delay (again, being controlled by the same sample & hold result) & the built-in spring reverb (sounding as buzzy as ever) ...
note that there is no sequencing at any point, nor any straight time throughout (even the somewhat quantized-sounding section in the middle is rather "drunk", computationally speaking) ... during the twenty-second burst of extremely high-mid-frequency sine-wave action about 10 minutes in, someone (i forget who exactly) actually climbed over everyone & ran for the door holding his/her ears in a state of utter terror ... not a single other person even seemed to notice the tone or the egress ...
... as with the last two lp’s in the series, this comes in a gorgeous b/w outer sleeve, to which a letter-pressed “badge” has been affixed with string ; inside there a 16-page booklet of photographs by meredyth spark (who also designed the cover) ... it’s also worth noting that marcus schmickler’s assist on the frequency-spectrum representation (ben’s side sounds crisp & direct, but i’m more blown away at how he turned a distant, back-of-the-room “field recording” into a detail-heavy monster) ...
ami 033 r/w
ben vida / keith fullerton whitman
aggregatepulseripper (damaged iiii) / 080114
|the third iteration in the required wreckers series, a split lp featuring new and exclusive work from ben vida and keith fullerton whitman (ami-033 r/w). having collaborated over the last decade as a trio with greg davis, this release features new solo-work by two of america's most important emerging sound artists.|
the first side of this release debuts a new composition from ben vida. in keeping with his recent patchwork-based compositions, aggregatepulseripper (damaged iiii) continues to explore vida's interest in both digital and analog control sources, a compositional process that refuses to fetishize one technology over another and, more interestingly, appears (though, of course, these appearances are deceptive) to displace the musician's hand from the compositional process. in light of vida's early work with the acoustic ensemble, town and country, and the world music and concrete studies of his solo project, bird show, this new compositional method should not be overemphasized. for this piece, vida creates a complex web of patches that change and morph in what he has contextualized as a series of shifting generative patterns. the subtitle of his piece references how these patterns coalesce in aggressive, almost hardcore, clusters of sound that refuse to slip into contemplative or mystical arenas that so many in today's electronic music reference in relation to their work. vida's composition opts instead to remain engaged in the phenomenal and spatial forces that shape our perception of sound.
the flipside of this lp features keith fullerton whitman's third in a series of splits (previous releases have included no fun production's b/w carlos giffoni and amethyst sunset's b/w with mike shiflet) documenting a particularly productive period in his creative output - a series of "synth concerts" from 2007 and 2008. recorded on january 14, 2008 at pa's lounge in somerville, ma, this piece documents the fourth in whitman's solo synthesizer sets. his technical set-up is based around a theme (and circuitry) of economy, in which the artist makes use of each cv-source in a variety of fashions. throughout the recording one can discern talking from the audience and ambient room-tone noise, as well as sound coming from different sources spread throughout the room - a small battery powered speaker on stage right, a giant barbetta on stage left. each speaker was fed into a different patch irrespective of its frequency response. whitman uses a hybrid system of digital and analog sound sources that, with the exception of a single 4096 bd delay, is presented here without treatment, overdub, or sequencing of any sort.
new york-based artist meredyth spark provides the cover art and sixteen-page booklet for this release. sparks has been assisting amish for the last few years with design and layout. this is the first release to exclusively feature her work. the images and design elements for the cover art come from her extraction series (in truth, the front and back covers are extractions of her extractions), paintings and collages that draw heavily from the aleatory methods and analog/digital processes that both vida and whitman utilize in their recordings.