new to stock as of
march 3rd, 2007
|waving bye records (usa) #wav 3001 cd|
john bruce wallace “loud noises in a corner: engagements on urban terrain” compact disc
- 02181993-1-afternoon (9:11)
- 02181993-2-afternoon (16:30)
- 02181993-3-afternoon (26:26)
- 02181993-4-early evening (12:19)
- 03101993-2-evening (7:06)
|1994 disc by guitarist john bruce wallace - just one in a wave of “can do” early-mid-90s bedroom free-improv records of whose spirit i’ve kind of been pining for these last few months. no loren mazzacane connors by a long stretch, but a certain personal discovery ethos rings throughout that feels genuine. in those pre-internet days, “real person” records such as these weren’t exactly easy to come by (unless you really scoured the pages of the nmds catalogue) making it somewhat unique - a time-capsule of loose, light scrapey electric guitar/amp crossover.|
|waving bye records press release...|
|statement of concept and style|
an improvisational performance features john bruce wallace exploring, exploding, and exhuming the avant geist. compositions are improvised extemporaneously on solo electric guitar without the use of tape, tape dubbing, computers or synthesizers. the idea is to utilize a few basic tones and then present relational possibilities inherent in those tones.
critics and fans have noted that he is able to produce complex musical riddles wherein his performances have displayed the qualities of multiple instrument arrangements, incorporating voicings that bring to mind horns, sax, chimes, cello and strings, and percussion as well as various guitar timbres.
influences as diverse as wind instrument breathing techniques, piano hand exercises, and woodwind and violin fingering styles are routinely incorporated into the standard fingering and theories behind the guitar.
mr. wallace is interested in the textural aspects of the sounds, in the physical dimensioning of each note, of the geometric quality of the sound. he is also concerned with the timbre of every note and passage, and with the rhythmic structure of the relationship of each note to its neighbors within the musical neighborhood. his improvised compositions often incorporate sonorous multitonal qualities, dense, interwoven passages embellished with harmonic and micro-tonal sound statements, or silence further defined by irregular syntaxed rhythms and primitive beats.