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... this "classic" version of the site will remain up for the time being, mainly to allow "stragglers" the chance to acquire items from our ongoing "closeouts" campaign as well as view & acquire catalogue items that have yet to migrate to the new site ...

... note that no new titles will be posted herein ; for all new arrival and restock activity please head over to the site linked above ...
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there are 10 titles featuring eli keszler in stock.
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cassauna (usa) #sauna 21 cs

ashley paulwhite night” cassette

  • dragon
  • i'm finding you
  • august 10

  • white night
  • goodbyes
  • run the wall
... continuing in her exploration of her chosen palette (bit-reed embouchures, shaahi-baaja, electric guitar, and voice) ashley paul lets loose this six-track suite of extremely minimal figures, with the instruments merely providing the frameworks / narrative events into which the spaces tell the story ...
cassauna press release...
ashley paul
white night
sauna21 cass

white night is a contemplative new collection of pieces from ashley paul. using prepared guitar, green box, voice and reeds; her unique style lies somewhere between song, space and dissonance. leaving the listener haunted in its closure this cassette was recorded over the course of a year in four cities; brooklyn, boston, london and orlando.

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first in stock on
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threads:
analogue-synth
anti-music
art-punk
digital-musics
experimental-instruments
guitar-themed
live-electronic
machine-music
modern-composition
sound-installation
free-improvisation

nna tapes (usa) #nna 043 lp

eli keszler / keith fullerton whitmansplit” long playing record

  • eli keszler - mired

    drums, crotales, installed motors, micro-controller metal plates
    bowed crotales, snare drum
    drums, guitar, crotales
    cymbal, bass drum, clarinet

  • keith fullerton whitman - occlusion

    real-time music for hybrid analogue/digital modular synthesizer
april 2012 release ; ... originally conceived as part of the “split series” of live recordings (i.e. the lp’s for no fun, amethyst sunset, amish, and dekorder with my formative experiments in live hardware synthesis on one side ... then considerably more elegant work(s) by carlos giffoni, mike shiflet, ben vida, and alien radio on the others, respectively) the proposed split with eli keszler (a musician whose work i’ve long been in admiration of, despite never actually working together on anything) for nna tapes actually took on a different shape entirely ...

... i had something of an epiphany while watching eli play music last spring ; as someone who’s long been enamored with the “free” style of drumming (and someone whose hands / motor skills often fail / betray him on the regular) i had the idea to devise a sub-patch to “generate” completely arbitrary clustered rhythm-events, which i then used to control the spacing of randomly-derived sound events, automated by a similar (yet, discrete) set of “bucket-brigade” values that were applied to the pitch, panning, length, shape, wave-shape, and frequency modulation of a continuous stream of analogue / digital sound ...

... the results, heard here on record for the first time (recorded in one afternoon, shortly after discovering the patch, presented here as a pair of continuous, overlaid takes captured a few hours apart) form the basis on a new piece that i’ve titled “occlusion” ; the same that i’ve been performing for the last year & will continue to hone & complicate for the remainder of the year ... here’s an excerpt of the very recording heard on this lp ::



... eli’s side is incredible for a multitude of reasons, but ultimately what makes it unique is the “calling cardnature of it ; gone are the side-length explorations of bowed-metal, spastic snare-drum crackle, or stand-mounted / stick-playedno wavelineage electric guitar sizzle ... instead, we get four digest-length pieces incorporating each of these approaches, culminating in (a first) an extended drone piece (sourced to an interference setup used to animate the sounding head of a large bass drum via feedback) cut with some low clarinet growl (c/o ashley paul) ... the first track also shows off some of his recent work with arduino-based, automated rhythm aggregates (listen to the first part of the sound-sample ; the high transients floating above his hyperkinetic snare drum blister) ...

... comes in a nice sparse sleeve, with one of eli’s “works on paper” recreated as the cover, another more pointillist figure on the front of the printed inner sleeve (detail below) and a third on the a-side label ; this came out beautifully, both in sound (natch, we both insisted on a d&m cut) and sight ...

ps. to make the parallel clearer, you can actually overlay both the first few tracks by eli (via the sound-sample player to your left) & the first few minutes of my side (ditto the soundcloud player above) yourself ; doesn’t that sound nice ...
nna tapes press release...

nna043: eli keszler / keith fullerton whitman split lp

nna is very excited to announce a split lp between world-renowned electronic music composer keith fullerton whitman and multi-instrumentalist composer eli keszler.

this lp is a conversation in sound between two prominent artists, one working in the electronic realm (whitman), and the other in the world of live acoustics (keszler). in fact, whitman's piece was inspired and created as a direct response to keszler's signature frenzied percussion style.

both sides of the record are full of incredibly detailed nuance-driven music. these artists work with sound on the microscopic level, deliberately placing each individual molecule of sound in it's intended location. whitman's piece "occlusion" is automated "machine music" warfare, utilizing rhythm as a textural tool, while keszler uses live percussion, bowed metal, and other acoustics to act as a humanized response to whitman's machine-regulated assault, solidifying this record as a fantastic document of human vs. machine call and response.

original artwork by eli keszler.

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first in stock on
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threads:
digital-musics
electro-acoustic-composition
electro-acoustic-improvisation
experimental-instruments
field-recordings
free-improvisation
guitar-themed
live-electronic
machine-music
minimalism-drones
modern-composition
site-specific
sound-art
sound-installation

pan (germany) #pan 32 cd

eli keszlercatching net • installations - compositions” double compact disc set

  • cold pin 1 (13:10)
  • cold pin 2 (14:19)
  • cold pin 3 (25:36)

  • catching net (16:27)
  • cold pin (13:19)
  • collecting basin (10:00)
september 2012 release ; ... long-awaited collection of material(s) from the last yearsworth’ of eli keszler’s creative life, focusing both on his installation work (the inspired “collecting basin”, set up at the shreveport mspc new music festival, and “cold pin”, ditto, the boston center for the artscyclorama) and his ensemble pieces (featuring graphic scores as interpreted by a who’s who of new england musicians such as geoff mullen, greg kelley, reuben son, benjamin nelson, and many more) ...

... while i’ll concede that it feels a little early for a “career canonizing retrospective” as such ; it’s easierto not to take this as said, but rather a rather handy compiling of the work of eli’s that falls outside of his “free jazz / improv(as documented via the esp-disk’ & various collaborative sets w/ joe mcphee et.al) & more formless home-recordedmodes (i.e. everything he’s issued via his rel imprint) ...

... as eli gets more & more ambitious with his scope, this set proves full well his range & capacity with such large-scale projects ... there are very few people on earth working with such diverse means of organized sound in anywhere near eli’s level(s) of passion & elocution ...

... comes in a mini-gatefold-lp sleeve w/ silk-screened outer (just like the pan lp issues only ... smaller) ; highly recommended !!!
pan press release...

eli keszler 'catching net' (pan 32)

eli keszler drums, percussion, crotales, guitar
ashley paul, alto saxophone, bass harp

geoff mullen, prepared guitar
greg kelley, trumpet
reuben son, bassoon
benny nelson, cello

sakiko mori, piano

the providence string quartet:
carole bestvater, violin
rachel panitch, violin
chloë kline, viola
laura cetilia, cello

catching net is a collection of selected installations and compositions eli keszler created during the last two years. the double-cd set includes both stand-alone recordings of the installations and the integrated ensemble scores performed in conjunction with those installations. the first disc features two ensemble versions of cold pin, previously released in a 2011 lp of the same title on pan, plus a 26-minute, previously unreleased live ensemble recording (mixed sextet and piano quintet; these are captured in contrasting acoustical spaces).

the second disc begins with the title track, catching net, a 17-minute score for string quartet and piano with the cold pin installation. the score is fully notated, timed with stopwatch markings rather than tempo or meter. following are two recordings of keszler’s large-scale installations functioning on their own. collecting basin features piano strings / wires up to 250 feet long splayed from a two-story water tower in shreveport / louisiana, across two large, empty water purification basins, which acted as an amplifier for the sounds produced by the installation. a solo version of cold pin (without live performers) concludes the album. tracks 1 and 3 on the first disc and track 2 on the second disc were recorded at the historic cyclorama, a massive dome at the boston center for the arts. cold pin was installed directly on a large curved wall in the dome, using micro-controlled motors and beaters to strike extended strings ranging in length from three to 25 feet.

born in brookline, massachusetts, visionary composer / percussionist / multimedia artist eli keszler began playing drums at eight, and composing at twelve. before finding an interest in experimental music and improvisation, he played in rock and hardcore bands; his work retains an intense physicality and churning, often ferocious energy. he is a graduate of the new england conservatory, where he studied composition with anthony coleman and ran blake. a self-taught visual artist, his aesthetic outlook owes as much to richard serra and robert smithson as it does to musical icons like xenakis, nancarrow, and ornette coleman. he has collaborated with phill niblock, roscoe mitchell, joe mcphee, loren connors, jandek, and many others, and has recorded more than a dozen cds and lps for esp-disk, rel, and pan.

keszler’s installations employ piano wires of varying lengths; these are struck, scraped, and vibrated by microprocessor-controlled motorized arms, giving rise to harmonically complex tones that are percussive yet resonant. these installations are heard on their own and with accompanying ensemble scores. said keszler in a npr all songs considered interview, i like to work with raw material, like simple sounds, primitive or very old sounds; sounds that won't get dated in any way. i was thinking of ways i could use strings or acoustic material without using pedals or pre-recordings, so the live aspects appealed to me. in addition, the patterns formed by the overlapping piano wires allow keszler to create visual components that relate directly to the music, without having to use projections or other electronic equipment.

the 2xcd is mastered by rashad becker at clunk, in a limited edition of 1000 copies. it is packaged in a pro-press digisleeve jacket which itself is housed in a silk screened pvc sleeve with extensive images from the installations, program notes, sketches of the installations, scores, electronic schematics from the projects, and accompanying drawings and artwork by eli keszler and bill kouligas.

pan32cddetail2.jpg>


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new to stock as of
july 22nd, 2013


threads:
printed-matter

38% off !!!
rel (usa) #rel 22 book

eli keszlerneum” book

july 2013 release ; ... essentially the “catalogue” of the “neum installation currently set up in london, showcasing eli’s design-work from the past few years, nicely printed into a small book that includes several “inserts(cleverly housed between blank pages ; a re-sealable mylar pouch prevents entropy in transit) ...
rel press release...

eli keszler - neum - rel22
edition of 100

neum is a book of drawings, prints and diagrams by eli keszler made in conjunction with the presentation of the neum installation at the south london gallery – a large scale piece, occupying a 150 wide by 50 foot tall space made up of 16 overlapped and splayed piano wire, activated by a mechanical system which is featured as part of the group show 'at the moment of being heard'.

the book consists of over 65 drawings, sketches and diagrams of various sizes dimensions and medias as well as 3 silk screened inserts. neum is printed in a limited hand numbered edition of 100 copies.

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 $11.44 

new to stock as of
october 23rd, 2013


threads:
modern-composition
free-improvisation
experimental-instruments

38% off !!!
rel (usa) #rel 21 lp

asterthings that just happen” long playing record

  • s1
  • secrets and lies
  • s2
  • glorious morning

  • s3
  • stalactites
  • s4
rel press release...

rel21
aster
'things that just happen'

limited 200 grm. vinyl lp out october 22nd

'things that just happen' is the 2nd full length release by the duo of ashley paul and eli keszler. a longstanding collaboration, this record incapsulates a merging of the off kilter, quiet and fragile song based work of ashley with the decisive and material based sound which can be seen in the duos live performances. the album begins with and is framed by a multi part suite of pieces based around bowed crotales and saxophone. simple in materials, with no electronic processing, the overtone and harmonics produced by the duo is both isolating, rich, alien and challenging. meanwhile, songs creep in throughout the record, featuring ashley and eli's guitar duos and responsive and dynamic saxophone and drum set accompanying ashley's singing. 'things that just happen' is a powerful take on the unusual complex of song based melody, and psycho acoustic experimentation.

released in a limited pressing on heavy 200 grm vinyl with insert and printed drawings.

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back in stock as of
july 22nd, 2013

first in stock on
march 29th, 2013


threads:
modern-composition
free-improvisation
minimalism-drones
folk
experimental-instruments
modern-psych

38% off !!!
rel (usa) #rel 20 lp

ashley paulline the clouds” long playing record

  • soak the ocean
  • wide expanse
  • line the clouds
  • black and blue
  • wrap me up
  • falling

  • watch them pass
  • february 21
  • sail
  • never take
  • wolf laurel
  • you're a feeling
march 2013 release ; ... continuation of ashley’s exploration of the intersect(s) between “private,” home-recorded rubato folk forms the sort(s) of extended-technique “new musicframeworks & timbres she’s perhaps most known for (via her ongoing collaborations with pianist anthony coleman & percussionist eli keszler, both of which appear on this set) ...

... while she’s definitely off in her own orbit at this stage, i can easily see how fans of reiko & tori kudo’s maher shalal hash baz-era work (perhaps substituting hiroo nakazaki’s euphonium for ash’s bit-reed sax embouchures) & even the nagisa ni te records will find a similar meshing of pure avant-garde forms with less rigid, more personal applications of aesthetic ideals ...
rel press release...

ashley paul
'line the clouds'
lp

multi-faceted composer and performer ashley paul releases her new lp 'line the clouds', out march 18th on brooklyn’s rel records.

a hyper-intuitive record, where off-kilter instrumentation meets beautifully crafted melodies to convey the very essence of musicality, line the clouds contains 44.18 minutes of sonic paradoxes and dichotomies.

stirring up a zephyr of twelve blissfully cacophonous sounds - singular moments of an indivisible whole – the focus is on guitar, voice and saxophone, but ashley also employs everything from flute, clarinet, guitar, bells, percussion and prepared strings in her melodic endeavours which simultaneously plugs in the ghost of american song.

from wide expanse - where high-pitched reeds and whistles collide with richer tones and ashley’s fragile voice - through the simple, sparkling beauty of the lp’s title track – with the guitar at the helm – and the multi-vocal flutterings of watch them pass, there’s also the freeing experimentalism and atonal clatter of feb.21 – a song which ably immortalises a feeling of stomach churning anguish – and the album’s gentle, abstract finale you’re a feeling’.

this brooklyn based artist is at the vanguard of the new wave of music currently rippling through the city where opposing strains of style and sound work in unison.

in addition to her solo projects, ashley plays saxophone and clarinet with anthony coleman as a duo and as part of his damaged quartet. with longtime musical partner eli keszler as aster (both of which appear on line the clouds), she also performs as aster, with sakiko mori as paul & maurey and with geoff mullen and keszler as oxtirn.

ashley has also performed or recorded with artists including loren connors, roscoe mitchell, aki onda, joe maneri, greg kelley, joe morris, seijiro murayama, ran blake, bill nace and charles cohen. she received a masters of music from new england conservatory in 2007.

line the clouds will be available in a limited edition lp available on colored vinyl in a custom sealed package with screenprinted wraparound of ashley’s animal drawings.

ashley paul is a performer and composer based in brooklyn, new york. she uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palette of sound that works its way into her intuitive songs; free forming, introverted melody. this blend manifests beautiful and simple musical forms against acoustic experimentation. her solo albums have received high praise being chosen "album of the column" in the wire, number one on byron coley and thurston moore’s tongue top ten in arthur magazine, and included on npr's all songs considered best of 2010. she has been interviewed in the german magazine spex, the sound projector magazine, foxy digitalis and on rare frequency.


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back in stock as of
july 22nd, 2013

first in stock on
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threads:
concert-recordings
free-improvisation
experimental-instruments
guitar-themed
modern-psych
modern-composition
machine-music

38% off !!!
rel (usa) #rel 17 cd

oxtirnoxtirn live” compact disc

  • oxtirn live (1) (6:56)
  • oxtirn live (2) (3:04)
  • oxtirn live (3) (2:42)
  • oxtirn live (4) (11:45)
  • oxtirn live (5) (8:17)
may 2011 release ; killer live recording (c/o geoff’s trusty pcm-d10) covering the new york debut of the oxtirn trio of eli keszler, ashley paul, and geoff mullen absolutely tearing the invited audiences expectation-set(s) to shreds via a positively molten array of real-time instrumental grappling(s) ...

available in a “limited two disk deluxe edition” along with the cd version of eli’s “oxtirn” lp for esp-disk’... or, now, all by itself (in case you’ve already picked up said) ; the edition, with its myriad hand-printed components, is absurdly nice (see below for just a selection of the included elements) ...
rel press release...

oxtirn - live - rel017
edition of 300

oxtirn 'live' documents a performance in new york city, by the new trio of geoff mullen, ashley paul and eli keszler. following a score by keszler, the group performs on an array of instruments, using three guitars, drums, voice, auto-motorized harps, tenor harp, bass harp, microphones, clarinet, alto saxophone, crotales, drums and cymbals. the music drifts in a unique way between a wide variety of sounds, from incredible density of clattering metal textures and string attacks, wall of sound guitars, mechanical music, high pitched saxophone bends and an oddly dim shimmering high harmonic sound. all creating together, a harsh, jagged and angular wash of ricocheting materials. in other sections, metal and vibrating strings, crotales and horns create a calmer and high contrast atmosphere. in the end, the music evolves into an area of sustained sound, space and sparse gesture, featuring one of ashley paul's songs and vocals, where the music takes on a new formation, leaving the listener with a question mark, and in some way is a new form of intuitive song. the recording itself is a low fi document with a spacious, raw and aggressive timbre to it, adding to the already unique feel of the music.

rel17cddetail1.jpg

the packaging is intricately designed with a multi-color silk screen, based on a drawing by eli keszler. the cd itself is housed in a multi panel, fold-out, metallic paper print with pictures from the concert and excerpts from the oxtirn score, with gold stamping on the outside of the metallic paper. the cd is attached to a hub which sits on top of liner notes, with an embossed design on the flip. oxtirn live is a one time special edition of 300 copies.

rel17cddetail2.jpg>


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back in stock as of
july 22nd, 2013

first in stock on
january 10th, 2011


threads:
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free-improvisation
experimental-instruments
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38% off !!!
rel (usa) #rel 16 lp

asterrel016” long playing record

  • untitled (15:25)
january 2011 release ; gorgeous one-sider (the edition is striking, utilizing one of those “shadow cutters” to produce a die-cut “obi” with near-impossible detail) offering a complete set by eli keszler & ashley paul’s aster, as recorded at great scott in allston, ma back in 2009 (by yours truly, in fact) ...

ashley’s “green box (aka “shahi-baaja”) playing steals the show here, with it’s raucous, distant spring-reverbed scrape reminding me of sun ra’s whole “strange strings ritual ... but of course eli’s entrance on the drums mid-side (first a flurry of tight crotale filigree, then a full-kit workout) brings things into more overtly “energy-oriented” lanes ...

... micro-edition of 135, sure to disappear in a blink ...
rel press release...

aster - rel016

aster 'rel016' is the first release in the rel live series, which documents a show in boston from 2009. aster takes a different form in this set moving away from its distinct style of high pitch sustained overtone bends and song structure, pushing more towards a guttural blend of string scrapes and sustained tones in combination with an aggressive form of saxophone and drum textures.

blending guitars, drums and horn with paul's unique green box set up, the music moves slowly and steadily through different areas ending with a sustained drum, string and saxophone section featuring an aggressive but oddly mellow texture and energy.

'rel016' is a one sided lp housed in a silk screened black cover with a metallic fold over paper with a unique laser die cut design. the inside has printed notes with the instrument details and information.

the record is a one time limited pressing of 135 copies.

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back in stock as of
july 22nd, 2013

first in stock on
june 27th, 2009


threads:
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experimental-instruments
modern-composition

 best of 2009 !!! 
38% off !!!
rel (usa) #rel 08 lp

ashley paul / eli keszleraster” long playing record

  • aster (1) (14:30)

  • aster (2) (5:50)
  • aster (3) (5:05)
june 2009 release ; first mass-market release from the long-running duo of ashley paul (here :: alto sax, clarinet, and “greenbox”) & eli keszler (snare drum, floor tom, crotales, metal, cymbals, and bow) ...

straddling the divide between extended-technique riddled modern composition(s) and an aggressively keening strain of high-frequency free improvisation, the pair alternate between bit-reed / bowed-metal screech (the majority of the first side) and more scrabbly avenues (the flip) ; rarely does the music land in any one tonal / rhythmic center, preferring liquid development(s) to stasis ...

on top of the visceral thrill ride that is the music here, the edition itself is something a wonder, consisting of a gorgeous screened lp sleeve adorned with a vellum fold-out, which lifts to reveal the album credits ... not since the days of harry partch’s gate 5 have i seen such a perfect melding of the self-realized record/label spec & the forward-thinking music to match ... highly recommended !!!
rel press release...

rel 008
eli keszler / ashley paul
aster

aster is the duo and debut lp release of ashley paul and eli keszler. performing across the northeast the past 3 years they have developed a unique style of sound which combines keszler's piercing high pitched resonances from bowed crotales and cymbals with paul's altissimo sustains and drastic pitch bends on alto saxophone and clarinet. the split tone combinations from these instruments is surprising and overwhelming, creating continuously shifting, multi-layered harmonics and intense inner ear sound. spinning discs, invented resonating metal configurations, bending reed tones and voice interference carefully blend creating a wild texture that is both harsh and striking. in contrast, the final piece displays ashley’s wrenching string attacks and eli’s rapid-fire percussion, filled with low-end bowed cymbals and jittery crashes. recorded to 4 track with no sound modification, aster is the first 'official' release of this long standing duo, which plans on a series of releases in the future.

pressed on 160 gram copper plate pressed virgin vinyl, the record is housed in a black inner sleeve. the textured paper cover features a layered silk screened drawing while the inside contains grey pasted notes with an attached 8 x 24 inch three part multi-tone picture printed across a fold-out frosted vellum book. all silk screened, hand assembled and drawn by ashley and eli.

the record comes in a limited hand numbered edition of 300 copies.

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first in stock on
september 7th, 2011


threads:
electro-acoustic-composition
electro-acoustic-improvisation
experimental-instruments
guitar-themed
free-improvisation
modern-composition
minimalism-drones
modern-psych

 best of 2011 !!! 
type (uk) #type 094 lp

red horsered horse” long playing record

  • untitled (1)
  • untitled (2)
  • untitled (3)

  • untitled (4)
  • untitled (5)
august 2011 release ; second album from eli keszler & steve pyne’s red horse, here making their type debut...

... gorgeously recorded down at foxboro’s mercenary audio (those of you with a penchant for boutique mics & preamps are assuredly already aware of the treasure-trove that fletcher’s been buidling up there for the past 20-odd years) this is the decidelyhi-fivariant to the first record’s blown, home-recorded gristle ... in particular steve’s re-purposed speaker-array & assorted sound-sculpture-lineage constructs, placed up in the front of the mix, have some of the mystery surrounding them shed, instead acting as something of a “band of automatons” to which his gnarly, rectified guitar scream & eli’s drum-kit & computer-controlled shrapnel-arsenal are overlaid & embellished upon ...

... while bombast & tight, a-rhythmic complexities are the focus throughout, i’m hearing the b-side’s more spare ruminations as the new direction, reminding of euro-improv’s 70’s detour into similar sculptural & self-fashioned approaches (namely, hugh davies’ “shozyg” lp & the woolier end of michel waisivisz contributions to records like “saxophone special” ... listen to the sound-sample for an extended section that’s more moslang/guhl than lightning bolt) ...

... an incredible record(ing), showing these two at the top of their game(s) ... highly recommended !!!
type press release...
red horse by red horse

mechanical free sound artifacts for the disenfranchised generation.

red horse is the blistering free-post-everything project of drummer/multi-percussionist eli keszler and guitarist/mad-scientist steve pyne. while both musicians are active in a number of different projects, red horse catches them working with a distilled sense of focus and is for many their breakthrough project. red horse (not to be confused with the similarly titled debut) is the duo’s second album, and follows the rush of critical acclaim for the first which saw thick-skinned musos wowed by their blistering combination of rhythm and dissonance. as you’d expect in a sequel, the budget is higher and the production more widescreen, and a far cry from the near lo-fi grind of its predecessor this new full-length is exposed to the miniscule detail. the production technique might scare some, but the crisp sound of keszler’s innovative drumming and pyne’s complex instrumental destruction has never sounded better or more fitting.

garnishing keszler’s well-worn patented hyperactive splatter-beats, pyne experiments with a veritable arsenal of home made equipment – from gargantuan electrified, automated string sculptures to confusing sequences of reclaimed speakers (taken from a very well known eastern-themed music box) wired together creating a wall of screaming feedback. in the wrong hands their sound could easily be stuffy and academic, but red horse inject their experiments with a punk spirit rarely heard in the avant garde. sure, the instruments are being handled by a couple of the best musicians in their field, but it hardly matters – this is the sound of beautiful cacophony, and like supersilent before them there’s something undeniably attractive about that concept. it’s not your average noise, rock, improv, jazz or experimental record – it’s all of the above and a great deal more. just make sure you listen loud, there’s a lot to hear.

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 tommi keränen 
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 stefan keune 
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... this page was last updated on friday, october 10th, 2014 @ 6:06 am