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HAYNES, JIM - Kamchatka

Format: CD-R
Label & Cat.Number: Contour Editions ce.cd_0003
Release Year: 2012
Note: JIM HAYNES mysterious "elemental drones" on Kamchatka are derived from recordings of rocks, hills & plains in combination with a live soundtrack to a film by PAUL CLIPSON; lim. /numb.150 copies, oversized cardboard / art cover , 'printed utilizing archival pigment ink on strathmore paper'; on the new label from RICHARD GARET, New York
Price (incl. 19% VAT): €13.00


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Contour
Editions
is
pleased
to
present
the
new
work
of
Jim
Haynes,
Kamchatka.
This
release
is
the
latest
development
of
the
label
ʼ
s
effort
to
present
works
that
explore
the
various
possibilities
of
sound,
while
also
engaging
with
studio
experimentation,
materiality,
processes,
and
diverse
techniques
to
create
and
treat
sound.
The
label
ʼ
s
objective
is
to
reach
listeners
and
spectators
on
a
personalized
level
while
facilitating
the
independent
distribution
of
sound
and
visual
artist
ʼ
s
work
that
are
often
hard
to
experience
within
the
local
community
or
the
cultural
landscape
of
the
world
at
large.
To
find
out
more
about
Jim
Haynes
please
visit
the
label
ʼ
s artist section at www.contoureditions.com
-----
When
referring
to
his
work,
Jim
Haynes
often
describes
his
process
as
“I
rust
things”
which
to
me
has
always
resonated
in
my
mind
as
a
hands-on-processing,
imaginative
as
well
as
intuitive
approach
to
working
with
and
embracing
cause
and
effect.
In
one
way
envisioning
an
extensive
exploration
of
material
and
processes
and
in
another,
and
completely
analog,
the
sonification of these processes applied to very specific systems and strategies.
Jim
Haynes
isn
ʼ
t
a
rookie
when
it
comes
to
sound
art
and
neither
when
it
comes
to
listening,
knowing
his
peers,
and
culturally
participating
in
the
world
of
sound
and
music
globally.
We
know
him
through
23five,
The
Wire
UK,
Aquarius
Records,
Activating
the
Medium,
and
more.
That
maturity,
refinement,
and
sophistication
are
exactly
what
you
get
when
you
listen
to
Jim
“the ruster” Haynes
ʼ
work.
I first encountered Haynes in 2004 at Diapason Gallery, NYC with a six-hour performance
installation
that
blew
my
mind
and
although
I
did
not
know
him
personally
at
the
moment
I
sure
did
now
what
good
work
sounded
like
at
that
precise
instant.
Over
the
years
I
followed
his
steps
and
when
I
was
there
I
can
say
that
he
always
delivered
great
performances
engaging
the
audience
into
his
focused
methods
and
demanding
focused
reception
and
attention
to
detail.
When
Jim
works
live
it
is
classic
to
witness
his
hands
in
the
dough
approach,
where
always
the
obvious
might
appear
over
the
surface
of
the
table,
however,
the
evolving
and
carefully
crafted
and
measured
gestures
overtime,
reaching
sublime
momentum,
are
definitely
strong
signatures
within
Haynes
ʼ
live
works.
That
ʼ
s
the
beauty
of
listening
to
a
performer
parse
not
only
how
to
sculpt
in
time
with
sound,
but
also
how
to
apply
his
sensibility
to
the
wide
spectrum, arena, and horizons of sound as well.
Then
we
find
Jim
ʼ
s
work
in
previous
releases
such
as
“Telegraphy
by
the
Sea”,
“Sever”,
“The
Decline
Effect”,
and
in
various
compilations
as
well,
always
delivering
work
that
has
to
the
highest
degree
translated
what
I
have
heard,
listened,
and
experience
live
to
the
confines
and
mystiques
of
the
studio
practice.
In
such
realm
I
can
see
the
artist
digging
deeper
with
alchemistic
power
and
psychological
affect
crafting
through
his
expanded
techniques
a
work
that
is
architecturally,
structurally,
aesthetically,
and
experientially
consistent.
Furthermore
that
ʼ
s exactly what Jim Haynes is successfully delivering to us once again with “Kamchatka”.
If
an
art
of
reason
is
the
death
of
the
experiential
and
subsequently
the
death
of
the
poetics,
like
Jean-François
Lyotard
states,
there
is
no
cold
reasoning
with
Jim
ʼ
s
work
but
in
fact
the
denial
of
it
completely,
however,
instead
we
find
much
to
experience
and
much
to
feel
emotionally,
physically,
and
psychologically.
Perhaps
in
this
particular
case
the
only
conceptual
reasoning
goes
into
the
fictional,
the
science
fiction
phenomena,
the
imagination,
and
the
wondering
that
went
into
interpreting
from
the
distance
what
“Kamchatka”
meant
to
Mr.
Haynes.
That
approach
to
sound
art
and
composing
is
rarely
seen
these
days
within
the
world
of
music
and
sound,
it
somewhat
brings
back
hints
of
what
the
romantic
painters
were
about,
for
example
when
Gustave
Moreau
painted
from
the
imagination
and
from
interpreting
the
work
of
symbolic
writers
or
like
when
Eugčne
Delacroix
was
illustrating
his
subjects
evoking
powerful
responses
through
coloring
and
movement.
Regardless,
these
two
compositions
comprise
the
typical
elements
expected
in
Haynes
work
such
as
textures,
timber
and
pitch,
obscure
field
recordings,
crackles
and
pops,
soft
hisses
of
background
noise,
and
all
masterly
established
throughout
an
elaborated
multilayered
construct.
But
the
psychological
strength
to
these
pieces
emerges
from
the
powerful
illustration
of
the
absent,
the
unphysical,
the
distant,
the
abstraction
that
depicts
the
unknown,
shaping
itself
through
sonic
particles
established
by
the
fictional
interpretation
of
the
subject
matter
that
sonically
shapes
an
impenetrable
environment.
And
in
this
case,
like
Kafka
ʼ
s
“Metamorphosis”,
Haynes
draws
attention
to
transformation,
to
horror, to the unknown that is about to burst and throw us over the edge.
After
reading
Jim
Haynes
linear
notes
about
“Kamchatka”
I
cannot
help
to
think
about
“The
Stalker”
by
Andrei
Tarkovsky
and
that
level
of
the
unforeseen
sublime.
Bravo
to
Mr.
Haynes
for
his
new
album
“Kamchatka”
comprised
of
two
tracks

Lilith”
20
ʼ
56”
and
“Rocks,
Hills,
Plains”
29
ʼ
59”.
By Richard Garet,


www.contoureditions.com