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GALBRAITH, ALASTAIR & MATT DE GENNARO — From the Dark (South Island)
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"ALASTAIR GALBRAITH ist der Klebstoff, der den Underground von Neuseeland zusammenhlt. Ob er nun schmerzhaft-schn Geige fr so verschiedene Knstler wie PETER JEFFERIES oder THE BATS spielt oder sich mit dem Feedback bei A HANDFUL OF DUST beschftigt oder zusammen mit dem Amerikaner MATT DE GENNARO neue Performances im Stile der Soundskulpturen von HARRY BERTOIA erschafft. Auf ,From The Dark" verwandeln sich architektonische Eigenarten in hypnotische Sounds. Stahlseile, die manchmal lnger als 30 Meter sind, werden durch den Raum gespannt. Wenn die Seile noch mit geharzten Hnden oder Lederstcken angeschlagen werden, schicken sie vibrierende Resonanzen zur ihren Fixpunkten. Nicht die Seile erzeugen Gerusche, sondern die Wnde, Gelnder oder Fensterrahmen, an denen die Seile befestigt sind. Das Resultat, eine Sinfonie in totaler Dunkelheit, ist eine wunderschn gruselige Zusammenstellung von Zufall, Architektur und Improvisation." [press release]
"Alastair Galbraith is the glue that binds the New Zealand underground. His work ranges from achingly lyrical violin for artists as disparate as Peter Jefferies and the Bats, to the feedback squalls he conjures as member of A Handful Of Dust, to the otherworldly miniatures he crafts for his own solo albums. However, in recent years, Galbraith, along with American Matt De Gennaro, has developed another remarkable performance idiom, one that is positioned closer to the sounding sculptures of Harry Bertoia. In From the Dark (South Island), architectural idiosyncrasies are transformed into nuanced and hypnotic audio. Wires _some as long as 100 feet_ are affixed throughout a building. When the wires are taut and stroked with rosined hands or a piece of leather, longitudinal vibrations are sent to the points of attachment, creating a natural resonator. It is not the wires that make the sound, but the wall, railing or window frames at their end; wire length and room acoustics determine the pitch. The result, achieved in a veil of total darkness, is a beautiful and eerie confluence of chance and accident, architecture and improvisation. As Galbraith puts it, "There is some quite magical feeling of communion turning the lights off and making the building sing." [press release]
"Alastair Galbraith is the glue that binds the New Zealand underground. His work ranges from achingly lyrical violin for artists as disparate as Peter Jefferies and the Bats, to the feedback squalls he conjures as member of A Handful Of Dust, to the otherworldly miniatures he crafts for his own solo albums. However, in recent years, Galbraith, along with American Matt De Gennaro, has developed another remarkable performance idiom, one that is positioned closer to the sounding sculptures of Harry Bertoia. In From the Dark (South Island), architectural idiosyncrasies are transformed into nuanced and hypnotic audio. Wires _some as long as 100 feet_ are affixed throughout a building. When the wires are taut and stroked with rosined hands or a piece of leather, longitudinal vibrations are sent to the points of attachment, creating a natural resonator. It is not the wires that make the sound, but the wall, railing or window frames at their end; wire length and room acoustics determine the pitch. The result, achieved in a veil of total darkness, is a beautiful and eerie confluence of chance and accident, architecture and improvisation. As Galbraith puts it, "There is some quite magical feeling of communion turning the lights off and making the building sing." [press release]