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back in stock as of
march 11th, 2013
first in stock on
april 17th, 2012
threads:
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| | | nna tapes (usa) #nna 043 lp eli keszler / keith fullerton whitman “split” 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 card” nature of it ; gone are the side-length explorations of bowed-metal, spastic snare-drum crackle, or stand-mounted / stick-played “no wave” lineage 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... |
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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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