| $29.41
back in stock as of august 3rd, 2011
first in stock on october 20th, 2010
threads: electro-acoustic-composition musique-concrète analogue-synth machine-music live-electronic beat-research site-specific concert-recordings playback-music modern-psych modern-composition minimalism-drones
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| | | pan (germany) #pan 13 lp keith fullerton whitman “disingenuity b/w disingenuousness” long playing record - disingenuity (17:14)
- disingenuousness (16:22)
| september 2010 release ; oof ... what a long, strange trip it’s been getting this one in stock / out into the world ; but you certainly can’t argue with the results !!! essentially my five-years-in-the-making love letter to the intersection of “aleatoric tape music” & “automatic synth music”, commissioned by pan’s bill kouligas back in 2008 but begun as early as the wrap-up of “multiples” in 2005 ...
... scouring craiglistings one day, i came across a fellow unloading a bank of 10 mono nagra tape recorders, used on a local film shoot ; needless to say i jumped at the chance to get one for a reasonable price & began recording hours of banal field recordings in & around my neighborhood (i.e. walking home in the snow, the sounds of airplanes & helicopters flying overhead, children playing in a local playground & in the mms office) ... spurred on by decades of listening to the canonic “aleatoric tape music” sides such as bernard bonnier’s “casse-tête”, luis de pablo’s “we (nosotros)”, costin mieranu’s “luna cinese”, basil kirchin’s two “worlds within worlds” lps, dub taylor’s “lumiere” ... as well as “automatic synth” chestnuts like steve birchall’s “reality gates”, douglas leedy’s “entropical paradise”, michael czajkowski’s “people the sky”, and richard pinhas “rhizosphere” ... i began building a system wherein the aforementioned field recordings would, through the careful patching of the eurorack modular i’ve been ... amassing ... since 2003, “trigger” musical events, thus largely removing the composer from the equation ...
the a-side of this lp, “disingenuity,” features a minimally edited selection of segments generated by affixing contact mic’s to the body of the nagra (one on the speaker, one on the transport, and one on the bulky record / playback switch) ; peaks from the simple act of starting & stopping the machine were converted to triggers, triggers to random voltages, voltages to control information (i.e. filter cutoffs, ring modulator carrier frequencies, analogue delay time, panning, etc ..) ... eventually to the ramshackle aggregate of sounds that make up the piece ...
the b-side dovetails two entirely automatic patches into one continuous piece, starting with a raw pulse wave, then some tape interference, then (largely) a section of runaway sawtooth arpeggiating (recorded in differing configurations at a pair of concerts given at the stone in new york & the music gallery in toronto) that i think does a good job of meeting my love of “berlin school” electronic music & the often beat-less muscle of the whole basic channel / chain reaction “thing” halfway ... this gives way to a nice quantized mono sine-wave patch (controlled by simply walking towards, then away from a single light-sensor) before returning to the pulse ...
after working on this for so long, i’m really glad to see it return to the earth via this eye-popping edition, c/o the hard work (& constant pestering !!! all of which i needed !!!) of pan’s bill kouligas, who i think out-did even himself with the whole look / feel of the final package (also thought having d&m’s rachad becker cut the lacquers was a nice touch given the “theme” of the b-side) ... this is both an aside to, and an integral part of the more real-time electronic music work i’ve been mapping out over the past few years ... |
| | keith fullerton whitman 'disingenuity b/w disingenuousness' (pan 13)
keith fullerton whitman bursts back with his first full length record in four years, "disingenuity b/w disingenuousness", comprising of two pieces of forward thinking electronic music with a deep exploration into the analogue sound. live and studio recordings of the past two years (cambridge-new york-toronto) were used as source material, which were then realized into two longform compositions. using a musique concrète approach of deconstructed sounds (ala pietro grossi, costin miereanu, basil kirchin, dub taylor, etc) "disingenuity b/w disingenuousness" encompasses various reference points from françois bayle, jacques lejeune, richard pinhas & heldon to the minimal textures of basic channel-chain reaction axis...
both tape-collage pieces which derived from an hour-long improvisation based around a setup involving a tape of chance field-recordings (a helicopter, walking on snow, children) bounced to a mono nagra tape machine, which is covered in contact mic's that translate not just the sound coming from the speakers, but the actual mechanical "interface" of the unit into control voltage & triggers that drive a modular synth that's processing said audio using the classic electronic music toolkit (i.e. ring modulation, panning vca's, filters, etc).
keith fullerton whitman is an american electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock. he records and performs using many aliases, of which the most familiar is hrvatski and has been also member in many 90s bands, including el-ron, the liver sadness, sheket/trabant, the finger lakes and gai/jin. he started recording using his own name in 2001, and most of his work recorded today is under that name. he studied computer music at berklee college of music, where he was exposed to modern electronic music composition and synthesis. his moniker asciii has released music distributed with an academic journal. his studio and live setup usually consists of computer devices and other analogue instruments, such as guitars, ouds and synthesizers. whitman has released albums on labels such as planet mu, kranky, carpark records, no fun productions, root strata as well on his own entschuldigen and (now defunct) reckankreuzungsklankewerkzeuge labels.
the lp is mastered and cut by rashad becker at d&m, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by bill kouligas.
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