||Live At anomalous Rec.
|Setting aside the 'avant schmaltz' (their term) and sinisterly
lulling musicality that characterized Solid Eye's 1994 debut, 'Electromagnetic
Field and Stream of Consciousness', this live document emerges more from
tendencies first explored on their 1996 7-inch 'Rickety Skyscraper'. With an ear
for unsettling detail, Solid Eye (in cahoots with guest William Leavitt) leave
you suspended ina lurching, gurgling, whistling and sighing river of sound that
unfolds with its own peculiar sense of internal logic. While sometimes
reminiscent in its surreal ebb and flow of the the Nurse With Wound/Hafler Trio
collaboration 'The Murray Fontana Orchestra Plays The Hafler Trio', this
phantasmagorical cocktail of sound, spiked with strange chemicals by the hands
of master alchemists, plows its own bewitchingly elliptical path between
tranquility and lingering dread.
||The Man Who Never Was
|Legendary Pink Dots frontman Edward Ka-Spel finds pleasure in stark,
loop-driven hospital hallucinations. 'The Man Who Never Was' was finished in
1992, but time and space have little bearing in Edward's broken-toy nursery.
'Fuse' sputters along like a bipolar Rube Goldberg invention coming to terms
with itself. The piece has no vocals, nor does it require them. The b side,
"Fuse", is only available on this record.
|egress is a song cycle comprising short songs played entirely on the remains of
dead cactus found in the sonoran desert outside tucson arizona.
the title refers to my exit from the desert, and also the decay and eventual exit of the
cactus 'instruments'. egress is
also an old theatrical term, and i realized after completing the song cycle that the recordings were made
in close proximity to "old tucson", a tourist trap that was once the sight of an old theatrical set
used In many early films and television programs, which was destroyed by fire during the recording of egress.
nice coincidence that. saguaro
cacti are the ones you see in roadrunner cartoons, the big skinny ones with the arms.
a saguaro won't start growing arms until it is at least one hundred years old.
they live many hundreds of years and are protected by law, when a saguaro dies, its outer skin rots and falls away,
leaving many long straight "ribs" which are the
cactus' skeletal frame. these ribs were
bowed, usually with another (broken) rib, and the resulting "cry" could be heard some distance away.
i also drummed on the trunks of dead cacti.
agave cacti flower only once a century, sending a stalk of blooms sixty or more feet in the air.
after blooming, the cactus dies. the dried
stalks were for many years used by apache indians to construct one-string fiddles. the apache violin heard
on egress was rather crudely constructed from an agave stalk and a used guitar string.
an "acoustic theremin" was also constructed from agave stalk and a length of dowel, which was
bowed with a violin bow. a
drum of sorts was devised by contact-micing a forked saguaro rib.
when struck against my palm, the forked rib resonated at a low frequency.
cholla and ocatillo cactus were also played."Edition
of 500 copies with hand assembled color photograph cover. High
|Andrew Chalk, Ralf Wehowsky & Eric Lanzillotta
|an international sound collaboration. side one features Andrew Chalk gently reworking the
sound materials of Ralf Wehowsky. a hypnotic drone with waves of mysterious sound.
side two, on the other hand, seeing Ralf composing a frenzied journey
into otherworldly realms using sound material from Andrew and Eric Lanzillotta. these pieces
reflect a sound unique from the work of any of the three individual participants, but clearly related to it.
Subtle, but full of detail for the listener willing to pay attention. second edition of 419 copies on
green vinyl [first edition was blue vinyl]. features a fullcolor cover with a painting by Andrew Chalk.
|In 1997, an installation of stringboards was made at the Anomalous Records performance space.
Prepared strings mounted via dulcimer tuning pins to collected pieces of wood provided the primary
materials for its construction. By mounting the boards to the wall,
the wall became a secondary resonator for the instruments--in effect
the room became the instrument. Improvisation was the guiding approach to play while various techniques
were employed: plucking, strumming, and bowing, as well as percussive techniques and the
application of secondary materials such as rocks from the parking lot, sticks, door knobs, etc.
|Voice of Eye
|shortly after the release of "Vespers", Voice of Eye went on tour passing through
Tucson, Phoenix, Whittier, and San Francisco. while in Phoenix, they
collaborated with Life Garden in performance and for recordings,
which resulted in two volumes of the "The Hungry Void" on CD. this
recording documents two rare live performances: Anomalous Records
[Whittier,CA] and Hangar 18 [San Francisco, CA], both from June, 1994.
these shows followed the release of "Vespers" and contained material similar to it.
the album flows from one piece to the next with no breaks creating one journey with many different variations to
be found along the path. deep and floating drawn out sounds, like
the music of another culture, but one through dreams. shadow rhythms
dance through relaxing drones and distant voices. limited edition of 558 copies, quality pressing on red vinyl.
|a pure and unadulterated hill top recording of a rather unique acoustic
situation recorded by Eric Lanzillotta in 1995. two 15 minute
sections of whispering ambience created by nature playing upon
disused architecture, and without the interaction of any human. the
closest comparison might be works by Alan Lamb or Andrew Chalk, although is distinct from those.
||Khataclimici China Doll
|This is an extended CD-issue of Edward Ka-Spel's 5th solo album.
"Khataclimici China Doll" was originally recorded in 1987 with
the help of Legendary Pink Dots members Stret Majest Alarme and Silverman and was
released on the German Dom label the same year. It represents Part 2 of
the not yet completed 'AaAhzyd China Doll" trilogy.
|Tetsu Inoue & Andrew Deutsch
|Field Tracker" was recorded at the Institute for Electronic Art,
Alfred NY during the Winter of 2000. Inoue, utilizing his digital sound processing
systems in combination with bells, guitar, and other odd sound making
objects, constructed tiny improvisational sound moments each one having a
shape and gesture of their own. These "micro compositions" were
at times highly abstract and noisy and at other times extremely melodic and calm.
Many of these micro compositions were used in the production of his
recent release "Object and Organic Code", the others (almost 2 hours
worth) were handed over to Andrew Deutsch who was to construct another release
combining sounds of his own. Being responsible for the overall
"Auskomponierung" or "compositional unfolding" of the work, Deutsch combined
synthesized sounds, drones, chatter, loops and other DSP techniques to produce what he hoped
would be a kind of "Gebrauchsmusik" or "useful music"
that one might use in the home. The work has a notion of "ambitendency" built into
it, that is, the tendency toward change combined with an equal tendency toward stasis.
The work could be described as "meta-divisionism", 'Baroque
Minimalism", or "expanded systemic digital minimalism". Sound works for our new
|For this album, Darren has collaborated with Colin Potter. Colin has been
an engineer for over 20 years now, and along his diverse history he has
worked with Nurse With Wound, Current 93, Organum, Jonathan Coleclough, Ora, and
many others. Being a musician himself (with many cassette releases and a
first solo CD out recently), his contributions to these projects are
often more integral than just being the engineer. In the case of Monos, Darren
provided him with various field recordings which he then electronically
processed. The result is an atmospheric album with dark undertones.
Starting off with a deep low 'breathing' tone, it almost draws to mind a cat
hiding beneath the steps of the porch, looking out on a sunny English garden
waiting for and hoping to stalk the birds which he hears yet cannot quite
see. Like many cats though, he is lost in his patience eventually
drifting off, the sounds of the singing birds slowly replaced by the sound of a
bell never struck and never decaying, everlasting in its dreamy quality.
||Dust is Their Food and Clay Their Meat
||an uncommon nature
|Climax Golden Twins
||The Second Attention