| $12.48
back in stock as of
april 6th, 2009
first in stock on
august 1st, 2008
threads:
electro-acoustic-composition
musique-concrète
minimalism-drones
field-recordings
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| | | sourdine (usa) #sd 002 cd christopher mcfall “the city of almost” compact disc - slow containment (16:41)
- one of several possible endings (8:38)
- requiem for troost (home) (17:20)
- all parts contained (13:45)
| august 2008 release ; the second release on sourdine, also the second release i’ve seen from kansas city based composer christopher mcfall (whom we were all introduced to via hia recent entr’acte disc) ...
lovely, slight electro-acoustic constructs borne of a series of field recordings made in his native environs ... |
| | sourdine press release... |
| sd-002: christopher mcfall - the city of almost
8.2008
cd limited to 500 copies
in retrospect, these recordings generate a sense of tremendous nostalgia for me and i consider them to be my most 'musical' works to date. when i began writing these works i had just moved into a new studio building off of troost avenue in kansas city; the studio that i work in currently. this area was once a pinnacle of prosperity for kansas city, as it's avenues were rife with commerce and business. over the decades this sector of the city has since dimished and fallen into ruin, and it's rusting buildings and eroded sidewalks proclaim themselves as a testament to what was and what now may be defined as a 'city of almost.'
thanks to: h. stewart, juan jose calarco, asher and god.
(text by christopher mcfall)
i have been listening to the work of christopher mcfall for nearly three years now and i am still somewhat at a loss when trying to describe it. he seems to work with location recordings in a way which more about recordings than it is about locations; in fact the locations which the recordings describe are entirely suspect, more a construction than a description. to my ears, christopher is a designer of sound works which are as compelling as they are confounding and through his combining of digital manipulation with physical manipulation, he creates vibrant juxtapositions of concrete sounds with sonic materials which are entirely alien. all of this is to say that i find his works fascinating, and not least for the questions they raise about methodologies of sound design and the transformation of discrete recorded data into a rich web of reference and allusion.
for the album at hand christopher has used recordings of his local landscape of downtown kansas city as well as recordings of an old, found record collection on its owners broken turntable. there is a sense of nostalgia and deterioration, both metaphorical and physical which is palpable in the recordings. the layers of time and the layers of texture both point towards a portrait of our past and our present; a world which is pushing ever forward while the problems of today and yesterday lay waste in the periphery, constantly edging in on our senses of security and beauty.
(text by asher thal-nir) |
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