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Label & Cat.Number: Erewhon CHWHON008
Release Year: 2002
Price (incl. 19% VAT): €13.00
More InfoFast schon beängstigend schöne Drones & „archaic surroundings“ von den beiden konkreten Klangsphärikern aus den USA.. zwischen stehenden, sich stets modulierenden Klangwolken und konkret-fliessenden Sounds...
Sehr schönes Cover auch, einer der definitiv besten DRONE-CDs des laufenden Jahres !
Absolutely wonderful new release, nicely packed
and designed and for a good price!
“...The exploratory focus of stria/confluence is the idea of resonance; the phenomenon of natural vibrations that give rise to intensified or stable structures within sound bodies and fields. In the production of these works, the composers' approached resonance in both the acoustic sound behavior and the social phenomenon in group interaction and/or participation within the context of sound generating activities. It was again applied to the studio in the use of massive multiplications and layerings, resulting in deeply transforming, evolutionary sound fields.. ”[from the press release]
"Strangely enough, we had never managed to get any of these records in stock when it originally came out in 2002 as the companion
to the now out of print album Confluence, which had been released on the Intransitive label. Stria is one of many collaborative projects
between these two impressive sound artists, straddling the realm of dronescape delirium and dislocated field recordings. Seth Nehil and
John Grzinich first began working together in the humidity of Austin, Texas in the revolving door collective of Alial Straa, which also
proved formative for Michael Northam and Olivia Block. But as all of these folks wandered to various corners of the globe (Grzinich in
Estonia, Nehil to Portland, Block to Chicago, and who the hell knows where Northam currently calls home), the collaborations have become
impressively focused projects, even as they take several years to complete. Like its companion piece, Stria centers upon the idea of resonance, spread across three longform pieces. The first of which collects various bowed tones from a huge ensemble of musicians and twists them all into a sinewy mass of slowburning drones and gradual progressions. The reference in the liner notes to Alvin Lucier makes
complete sense in view of this impressive dronesmear crescendo on par with anything that Jonathan Coleclough or Organum had mustered. The second piece is more in keeping with Grzinich's recent work with clattering stone and found objects in concrete bunkers, as scrabbling sounds and tactile noises echo back and forth against murky atmospheres. The final piece returns to the drone work with motors
agitating long thin wires with phase shifting oscillations and eerie turbulence rattling what otherwise would be some very pretty ambience,
but instead becomes a sublime listening experience. An excellent piece of work all around." [Aquarius Records]
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