artist: TAYLOR DEUPREE / KENNETH KIRSCHNER / TOMAS KORBER /STEINBRÜCHEL / AARON XIMM
title: May 6, 2001
catalog number: and/24
release year: 2006
format: CD
status: sold out
title: May 6, 2001
catalog number: and/24
release year: 2006
format: CD
status: sold out
On the night of Sunday, May 6, 2001, composer Kenneth Kirschner, as part of a
series of pieces documenting the sounds of different New York City
neighborhoods, took his tape recorder to the Financial District of Lower
Manhattan to begin field recordings for a new piece. The resulting low-resolution
portrait captured the sounds of a deserted urban landscape: the empty, winding
streets of old Dutch New Amsterdam, its modern, towering skyscrapers -- and a
region of the city that, several months later, would be renamed Ground Zero.
and/OAR is proud to present "May 6, 2001", a collection of five interpretations by
five renowned contemporary composers of the aforementioned field recording
portrait.
With excerpts from Kirschner's original 2001 composition based on the field
recording, the CD also includes pieces by Taylor Deupree (USA), Tomas Korber
(Switzerland), Ralph Steinbrüchel (Switzerland), and Aaron Ximm (aka Quiet
American; USA), all utilizing the 2001 Financial District field recording as their
sole source material. The result is a project that obliquely and subtly evokes the
source recording and its subsequent meanings, while also standing on its own as
an estimable example of each artist's mastery of his craft.
In conjunction with the release of the CD, and/OAR is pleased to present two
MP3s of related recordings. The first is the raw field recording itself, which is the
source material for the entire project. This 46-minute, low-resolution soundscape
of the New York City of early 2001 is presented here both for interested listeners,
and for fellow artists who may wish to make use of it:
http://www.kennethkirschner.com/field050601.mp3
In addition, here is the unedited, 36-minute version of Kirschner's composition
based on the field recording is available here:
http://www.kennethkirschner.com/kirschner050601.mp3
series of pieces documenting the sounds of different New York City
neighborhoods, took his tape recorder to the Financial District of Lower
Manhattan to begin field recordings for a new piece. The resulting low-resolution
portrait captured the sounds of a deserted urban landscape: the empty, winding
streets of old Dutch New Amsterdam, its modern, towering skyscrapers -- and a
region of the city that, several months later, would be renamed Ground Zero.
and/OAR is proud to present "May 6, 2001", a collection of five interpretations by
five renowned contemporary composers of the aforementioned field recording
portrait.
With excerpts from Kirschner's original 2001 composition based on the field
recording, the CD also includes pieces by Taylor Deupree (USA), Tomas Korber
(Switzerland), Ralph Steinbrüchel (Switzerland), and Aaron Ximm (aka Quiet
American; USA), all utilizing the 2001 Financial District field recording as their
sole source material. The result is a project that obliquely and subtly evokes the
source recording and its subsequent meanings, while also standing on its own as
an estimable example of each artist's mastery of his craft.
In conjunction with the release of the CD, and/OAR is pleased to present two
MP3s of related recordings. The first is the raw field recording itself, which is the
source material for the entire project. This 46-minute, low-resolution soundscape
of the New York City of early 2001 is presented here both for interested listeners,
and for fellow artists who may wish to make use of it:
http://www.kennethkirschner.com/field050601.mp3
In addition, here is the unedited, 36-minute version of Kirschner's composition
based on the field recording is available here:
http://www.kennethkirschner.com/kirschner050601.mp3
TOKAFI (SEPTEMBER 2006)
ALBUM OF THE MONTH:
A bond between seemingly unconnected compositions...
The sampler (as a collection of thematically connected tracks) and the remix
have been two of the driving forces behind electronic music. The former allowed
for the public to catch up with developments in an increasingly atomised world
and for red threads to appear within purely individual lines. The latter was a sort of
virtual handshake – the 21st century equivalent of the cover version. May 6, 2001,
even though it will for convenience’s sake be dubbed thus, is neither a sampler nor
a remix album. And yet, it is interesting to keep these terms in mind when writing
about a record, which plays with conventional forms of collaboration.
If it didn’t sound utterly ridiculous considering the proportions of their fame, one
could well call this a super-group. Yet it is no exaggeration to claim that within
their clearly defined circles, the artists involved here have all sharpened
awareness for certain aspects of their trade. Kenneth Kirschner is one of the main
proponents of the Open License and of Creative Commons, a man of word and
deeds, who has followed up his statements for freedom of expression with the
decision of freely releasing his entire oeuvre on the Web. Taylor Deupree founded
12K and LINE, two of the leading labels of the past five years and visionary outlets
of microtonal music. We’ve already had the pleasure of previously reviewing
material by Tomas Korber, whose veinal mix of Spanish and Swiss blood, as well
as a passion for Rock in his early career, has led to a unique style of emotionally
charged passages as part of often very up-front and direct encounters in sound.
Steinbrüchel, meanwhile, who has been received with open arms in the “club
scene”, despite his approach being strictly non-entertaining, is likes his audiences
to “be quiet and to listen”. And finally it is good welcoming back Aaron Ximm, who
will be better known under his “Quiet American” moniker and whom we had slightly
lost track of. Without a doubt, he is one of the few acts, who have turned field
recordings from being mere aural documentaries into an art form of their own. So,
while they are not exactly likely to pop up in the charts next to Britney Spears any
time soon, these distinguished gentlemen have all contributed to the debate in
music and sharpened the senses. And that makes them a perfect team for a
project initiated by Kirschner.
For it was him, who took a walk down the Financial District of Lower Manhattan on
the date mentioned in the album’s title, with his microphone picking up the noises
and sounds around him. This field recording, which can be downloaded in its
entirety from Ken’s site, in turn served as the basis for all of the pieces on May, 6.
Which brings us back to the remix and the sampler and why this is neither. The
aim of the project was never to simply present the source material from different
perspectives, but rather to use it as a common pool from whence to draw
inspiration. Every kind of electronic treatment was allowed and there was no
obligation in any way to include a certain amount of the original. And yet the
record lives off the belief that even after several manipulations and dissections,
the spirit of that day in Manhattan will shine through and create a bond between
seemingly unconnected compositions. At the same time, the result is never just a
string of tracks bunched together on the same disc. It is more like different artists
weaving together a huge carpet, each one connecting the knots at his side of the
room. And even though this is not the first time it has been tried, things have
turned out especially rewarding on this occasion.
There are two reasons for that. Firstly, the original field recordings seems to have
been a particularly appealing muse. The finished tracks are all abundant with
ideas, three dimensional textures and surprising structures and they all sound fresh
and inspired. And secondly, all artists have taken the liberty of confounding
expectations just a bit by stepping out of their usual contexts. Steinbrüchel’s airy
piano breaths over a heaving and groaning bass line, in stark contrast to his mostly
extremely poignant efforts, stretch for a majestic fifteen minutes. In the meantime,
Aaron Ximm’s “Negative Architectures”, surprisingly, hardly leaves a shred of the
source material intact, while Taylor Deupree’s finely woven, glistening chain of
harmonies is set behind a wall of gurgling and rumbling. Korber’s “Financial
District”, meanwhile, is close to his recent album work (this would have worked
perfectly on “Effacement”), but it is a daring twenty two minutes nevertheless: High-
pitched sonorities lead into a cascade of sounds slowly dying down like a camp
fire in the night. Kirschner’s own contribution is darkly tinged and mysterious,
transporting the recordings to five minutes to midnight. Something is going on
here, among a dream of rustling leaves and the wind whispering in the moon-lit
streets, but it is impossible to pinpoint, what. A multi-layered musique noire,
drastically abridged from the 36-minute original for continuity’s sake.
Which is yet another proof that the point behind May 6, 2001 was not to satisfy
anyone’s vanities, nor to present yet another compilation of loosely connected
tracks. Instead, this is about sharing the same moment, then telling a story about it
and allowing yourself to be as subjective as possible. It is a joint experience and a
common understanding that binds these pieces together. And that is so much
more than any old remix album or sampler could claim. (Tobias Fischer)
ALBUM OF THE MONTH:
A bond between seemingly unconnected compositions...
The sampler (as a collection of thematically connected tracks) and the remix
have been two of the driving forces behind electronic music. The former allowed
for the public to catch up with developments in an increasingly atomised world
and for red threads to appear within purely individual lines. The latter was a sort of
virtual handshake – the 21st century equivalent of the cover version. May 6, 2001,
even though it will for convenience’s sake be dubbed thus, is neither a sampler nor
a remix album. And yet, it is interesting to keep these terms in mind when writing
about a record, which plays with conventional forms of collaboration.
If it didn’t sound utterly ridiculous considering the proportions of their fame, one
could well call this a super-group. Yet it is no exaggeration to claim that within
their clearly defined circles, the artists involved here have all sharpened
awareness for certain aspects of their trade. Kenneth Kirschner is one of the main
proponents of the Open License and of Creative Commons, a man of word and
deeds, who has followed up his statements for freedom of expression with the
decision of freely releasing his entire oeuvre on the Web. Taylor Deupree founded
12K and LINE, two of the leading labels of the past five years and visionary outlets
of microtonal music. We’ve already had the pleasure of previously reviewing
material by Tomas Korber, whose veinal mix of Spanish and Swiss blood, as well
as a passion for Rock in his early career, has led to a unique style of emotionally
charged passages as part of often very up-front and direct encounters in sound.
Steinbrüchel, meanwhile, who has been received with open arms in the “club
scene”, despite his approach being strictly non-entertaining, is likes his audiences
to “be quiet and to listen”. And finally it is good welcoming back Aaron Ximm, who
will be better known under his “Quiet American” moniker and whom we had slightly
lost track of. Without a doubt, he is one of the few acts, who have turned field
recordings from being mere aural documentaries into an art form of their own. So,
while they are not exactly likely to pop up in the charts next to Britney Spears any
time soon, these distinguished gentlemen have all contributed to the debate in
music and sharpened the senses. And that makes them a perfect team for a
project initiated by Kirschner.
For it was him, who took a walk down the Financial District of Lower Manhattan on
the date mentioned in the album’s title, with his microphone picking up the noises
and sounds around him. This field recording, which can be downloaded in its
entirety from Ken’s site, in turn served as the basis for all of the pieces on May, 6.
Which brings us back to the remix and the sampler and why this is neither. The
aim of the project was never to simply present the source material from different
perspectives, but rather to use it as a common pool from whence to draw
inspiration. Every kind of electronic treatment was allowed and there was no
obligation in any way to include a certain amount of the original. And yet the
record lives off the belief that even after several manipulations and dissections,
the spirit of that day in Manhattan will shine through and create a bond between
seemingly unconnected compositions. At the same time, the result is never just a
string of tracks bunched together on the same disc. It is more like different artists
weaving together a huge carpet, each one connecting the knots at his side of the
room. And even though this is not the first time it has been tried, things have
turned out especially rewarding on this occasion.
There are two reasons for that. Firstly, the original field recordings seems to have
been a particularly appealing muse. The finished tracks are all abundant with
ideas, three dimensional textures and surprising structures and they all sound fresh
and inspired. And secondly, all artists have taken the liberty of confounding
expectations just a bit by stepping out of their usual contexts. Steinbrüchel’s airy
piano breaths over a heaving and groaning bass line, in stark contrast to his mostly
extremely poignant efforts, stretch for a majestic fifteen minutes. In the meantime,
Aaron Ximm’s “Negative Architectures”, surprisingly, hardly leaves a shred of the
source material intact, while Taylor Deupree’s finely woven, glistening chain of
harmonies is set behind a wall of gurgling and rumbling. Korber’s “Financial
District”, meanwhile, is close to his recent album work (this would have worked
perfectly on “Effacement”), but it is a daring twenty two minutes nevertheless: High-
pitched sonorities lead into a cascade of sounds slowly dying down like a camp
fire in the night. Kirschner’s own contribution is darkly tinged and mysterious,
transporting the recordings to five minutes to midnight. Something is going on
here, among a dream of rustling leaves and the wind whispering in the moon-lit
streets, but it is impossible to pinpoint, what. A multi-layered musique noire,
drastically abridged from the 36-minute original for continuity’s sake.
Which is yet another proof that the point behind May 6, 2001 was not to satisfy
anyone’s vanities, nor to present yet another compilation of loosely connected
tracks. Instead, this is about sharing the same moment, then telling a story about it
and allowing yourself to be as subjective as possible. It is a joint experience and a
common understanding that binds these pieces together. And that is so much
more than any old remix album or sampler could claim. (Tobias Fischer)
EARLABS (JUNE 2006)
This release on Dale Lloyd’s and/OAR label is especially significant to me for two
reasons: First, it serves as an archetype to what ever name one wants to assign to
the art of reinterpreting/recontextualizing pristine field recordings , and, second, it
showcases the talents of five prolific and talented artists.
The five compositions are all derived from raw field recordings of Lower
Manhattan’s Financial District captured by Kenneth Kirschner on the evening of
May 6, 2001. Personally, I would recommend listening to the untouched field
recording (46 m 43 s) to get a general feel of what these five artists had to work
with before listening to CD (Note 1). However, nothing is really lost should you
choose not to do so.
Ralph Steinbrüchel’s interpretation titled "bank" (15 m 45 s), which is the lead
track, contains his signature style of beautiful tones and harmonics, and I was
pleasantly surprised by the dark undertones that are clearly evident throughout the
track. This is followed by Aaron Ximm’s "negative architectures" (5 m 27 s). The
Quiet American’s unique contribution is the only rhythmic piece present here with
some scratchy percussive effects and a catchy wah-wah sound. Kenneth
Kirschners’s contribution (14 m 22 s) is the third track and is a truncated version of
a lengthier on-line mp3 that can be downloaded from his website (Note 2).
Kirschner’s version definitely falls in the drone genre - dense and thunderous at
times but interrupted by comparatively milder episodes of noisy static. Following
Kirschner’s opaque version, is the more abrasive approach of Tomas Korber's (22
m 07 s) "financial district". Although relatively quiet at the beginning, the initial
calm evolves into a brief rush of white noise and then Korber’s trademark sounds
make their presence known - not harsh, but coarse and abstract. The track is
surprisingly milder than what I expected being very low-keyed at times and even
containing a gently resonating drone towards the end of the track. The album
ends with the Taylor Deupree’s beautiful interpretation (4m 16s) appropriately
titled "dust". Although the shortest track, Deupree’s construction is a vigorous,
flowing, and slightly gritty microtonal drone sprinkled with the 12K microsound
aesthetic, but textured with some interesting discordant sounds. (Larry Johnson)
This release on Dale Lloyd’s and/OAR label is especially significant to me for two
reasons: First, it serves as an archetype to what ever name one wants to assign to
the art of reinterpreting/recontextualizing pristine field recordings , and, second, it
showcases the talents of five prolific and talented artists.
The five compositions are all derived from raw field recordings of Lower
Manhattan’s Financial District captured by Kenneth Kirschner on the evening of
May 6, 2001. Personally, I would recommend listening to the untouched field
recording (46 m 43 s) to get a general feel of what these five artists had to work
with before listening to CD (Note 1). However, nothing is really lost should you
choose not to do so.
Ralph Steinbrüchel’s interpretation titled "bank" (15 m 45 s), which is the lead
track, contains his signature style of beautiful tones and harmonics, and I was
pleasantly surprised by the dark undertones that are clearly evident throughout the
track. This is followed by Aaron Ximm’s "negative architectures" (5 m 27 s). The
Quiet American’s unique contribution is the only rhythmic piece present here with
some scratchy percussive effects and a catchy wah-wah sound. Kenneth
Kirschners’s contribution (14 m 22 s) is the third track and is a truncated version of
a lengthier on-line mp3 that can be downloaded from his website (Note 2).
Kirschner’s version definitely falls in the drone genre - dense and thunderous at
times but interrupted by comparatively milder episodes of noisy static. Following
Kirschner’s opaque version, is the more abrasive approach of Tomas Korber's (22
m 07 s) "financial district". Although relatively quiet at the beginning, the initial
calm evolves into a brief rush of white noise and then Korber’s trademark sounds
make their presence known - not harsh, but coarse and abstract. The track is
surprisingly milder than what I expected being very low-keyed at times and even
containing a gently resonating drone towards the end of the track. The album
ends with the Taylor Deupree’s beautiful interpretation (4m 16s) appropriately
titled "dust". Although the shortest track, Deupree’s construction is a vigorous,
flowing, and slightly gritty microtonal drone sprinkled with the 12K microsound
aesthetic, but textured with some interesting discordant sounds. (Larry Johnson)
SMALLFISH (AUGUST 2006)
Kenneth Kirschner's work is highly regarded around the world and it's not hard to
see why. His ability to take found sounds, field recordings, tape loops and
semi-classic arrangements and turn them in to engaging, atmospheric and, often,
haunting works is second to none. This piece was originally sourced in 2001 in the
financial district of New York and has subsequently been manipulated,
reinterpreted and revised by 4 high profile minimalist electronic composers /
artists. Taylor Deupree, Steinbruchel, Aaron Ximm and Tomas Korber all provide
dramatically different tracks based on the original work. From Deupree's simply
stunning melodic, signature arrangement right through to the beautiful, desolate
workings of Korber's wonderfully deep high frequency work, there's a whole world to
enjoy here. There's even an abridged version of the original by Kirschner himself.
When you have artists of this calibre on one CD you know you can't go wrong and
this comes as a highly, highly recommended item. Superb. (Mike Oliver)
Kenneth Kirschner's work is highly regarded around the world and it's not hard to
see why. His ability to take found sounds, field recordings, tape loops and
semi-classic arrangements and turn them in to engaging, atmospheric and, often,
haunting works is second to none. This piece was originally sourced in 2001 in the
financial district of New York and has subsequently been manipulated,
reinterpreted and revised by 4 high profile minimalist electronic composers /
artists. Taylor Deupree, Steinbruchel, Aaron Ximm and Tomas Korber all provide
dramatically different tracks based on the original work. From Deupree's simply
stunning melodic, signature arrangement right through to the beautiful, desolate
workings of Korber's wonderfully deep high frequency work, there's a whole world to
enjoy here. There's even an abridged version of the original by Kirschner himself.
When you have artists of this calibre on one CD you know you can't go wrong and
this comes as a highly, highly recommended item. Superb. (Mike Oliver)
REVUE & CORRIGÉE (SEPTEMBER 2006)
Nouvelle apparition de Tomas Korber au sein d'un collectif international qui
planche sur une prise de son faite le 6 Mai 2001 dans le district financier du bas
Manhattan par Kenneth Kirschner. Le document quasi 'brut' est inclut dans la
compilation permettant une écoute comparative.
Si l'ensemble des traitements et analyses de l'outil electronique misent en oeuvre
par les protagonistes de '6-05-2001' est un des intérets du disque l' autre tient à
leur complémentarité.
En ouverture Steinbruchel à disséqué la masse bruitiste en tranches fréquentielles
bien précises qui portées par des dynamiques variées met en valeur la nature
ondulatoire et mélodique des trames issue du fichier MP3 de K Kirschner. On est
immergé dans une fine stratification de hauteurs qui gomment les références de
départ soulignent l'invariance des paramétres sonores en musique. L'opération
aurait par exemple pu s'appliquer à un orchestre avec des résultats approchant.
Purgés des attaques et des transitoires d'attaques l'identité d'un timbre ce fond
dans le creuset générique des pressions d'airs.
Vient ensuite le travail plus ou moins rythmique d'Aaron Xxim: large usage de
traitements donnant une couleur classique à la piéce et le "document " de
Kenneth Kirschner; Deux pistes ou 'le message est le medium': timbres brouillés,
longs espaces réverbérer, souffle urbain et chaire numérique s'écoulant d'une
artére USB.
La piéce qui suit de Tomas Korber est plus complexe, plus longue, composer
avec des articulations subtiles jouant d'achoppements bruit / silence, onde /
corpuscule, espace / temps qui la rend passionnante et pleine d'une poésie trés
personnelle. On pense au processus si étrange de particules à la fois ondes et
corpuscules, grains et étirements,séparations et superpositions,au terme de Louis
de Broglie 'onde de guidage' comme suggétions de ce que l'on y entends.
Le premier tiers est une puissante monté de bruit filtré suivi d'une granulation
assez massive qui peu a peu va maigrir pour laisser percecoir la succession de
chaque grain jusqu'au silence.
John Cage dans un livre éponyme écrit : 'un son est aigu ou grave doux ou fort il a
un certain timbre,dure un certain temps et posséde une envellope '.
Cette réalité Tomas Korber l'explore brillamment et gageons que l'auditeur aura
envie de découvrir les autres parties de ce bijou qui confirme son style unique et
une grande cohérence.
La derniere piéce de Taylor Deupree, acteur connu oeuvrant à la frontiére de
l'expérimental et de la pop délivre des douceurs mélodiques peu à peu
contaminer par un monde plus sale de sons traités. Une monté en puissance qui
s'arréte brutalement comme si la place avait manqué.
Conclusion, 6 Mai 2001 est une construction bien faite,passionnante par endroit
qui offre un panel de propositions proche du vade mecum de la musique electro
et acoustique actuelle.
Nouvelle apparition de Tomas Korber au sein d'un collectif international qui
planche sur une prise de son faite le 6 Mai 2001 dans le district financier du bas
Manhattan par Kenneth Kirschner. Le document quasi 'brut' est inclut dans la
compilation permettant une écoute comparative.
Si l'ensemble des traitements et analyses de l'outil electronique misent en oeuvre
par les protagonistes de '6-05-2001' est un des intérets du disque l' autre tient à
leur complémentarité.
En ouverture Steinbruchel à disséqué la masse bruitiste en tranches fréquentielles
bien précises qui portées par des dynamiques variées met en valeur la nature
ondulatoire et mélodique des trames issue du fichier MP3 de K Kirschner. On est
immergé dans une fine stratification de hauteurs qui gomment les références de
départ soulignent l'invariance des paramétres sonores en musique. L'opération
aurait par exemple pu s'appliquer à un orchestre avec des résultats approchant.
Purgés des attaques et des transitoires d'attaques l'identité d'un timbre ce fond
dans le creuset générique des pressions d'airs.
Vient ensuite le travail plus ou moins rythmique d'Aaron Xxim: large usage de
traitements donnant une couleur classique à la piéce et le "document " de
Kenneth Kirschner; Deux pistes ou 'le message est le medium': timbres brouillés,
longs espaces réverbérer, souffle urbain et chaire numérique s'écoulant d'une
artére USB.
La piéce qui suit de Tomas Korber est plus complexe, plus longue, composer
avec des articulations subtiles jouant d'achoppements bruit / silence, onde /
corpuscule, espace / temps qui la rend passionnante et pleine d'une poésie trés
personnelle. On pense au processus si étrange de particules à la fois ondes et
corpuscules, grains et étirements,séparations et superpositions,au terme de Louis
de Broglie 'onde de guidage' comme suggétions de ce que l'on y entends.
Le premier tiers est une puissante monté de bruit filtré suivi d'une granulation
assez massive qui peu a peu va maigrir pour laisser percecoir la succession de
chaque grain jusqu'au silence.
John Cage dans un livre éponyme écrit : 'un son est aigu ou grave doux ou fort il a
un certain timbre,dure un certain temps et posséde une envellope '.
Cette réalité Tomas Korber l'explore brillamment et gageons que l'auditeur aura
envie de découvrir les autres parties de ce bijou qui confirme son style unique et
une grande cohérence.
La derniere piéce de Taylor Deupree, acteur connu oeuvrant à la frontiére de
l'expérimental et de la pop délivre des douceurs mélodiques peu à peu
contaminer par un monde plus sale de sons traités. Une monté en puissance qui
s'arréte brutalement comme si la place avait manqué.
Conclusion, 6 Mai 2001 est une construction bien faite,passionnante par endroit
qui offre un panel de propositions proche du vade mecum de la musique electro
et acoustique actuelle.
VITAL WEEKLY (OCTOBER 2006)
The Financial District of Lower Manhattan... perhaps this won't immediately ring a
bell or two, but it's the area of New York where the World Trade Center was. At
night this used to be a quiet neighborhood, with big skyscrapers and office
buildings. Several months before September 11th, 2001, Kenneth Kirschner
walked out one Sunday night to make a field
recording of the area, as part of a series to record various New York neighborhoods.
This recording was sent to various composers to ask their interpretation of the
sound material, using solely these field recordings. We find here luminaries as
Taylor Deupree, Ralph Steinbrüchel, Tomas Korber and Aaron Ximm along with a
piece that Kirschner did himself. As you can imagine this is an album you can
listen with mixed feelings: either ignore whatever happened at the World Trade
Center and view this a series of highly processed and highly 'silent' music (with
Tomas Korber being its champion here) or one could see this as solemn requiem
to those events.
I prefer to choose the latter.
The emptiness that was there when Kirschner made his recordings versus the real
emptiness that is now there, and that comes alive through the music. Each of the
five musicians seems to be aware of this, keeping in mind the tragedy through
softly humming and buzzing of sounds that slowly evolve and revolve. Not a
release to make you happy, but quite an essential and highly human release.
(Frans de Waard)
The Financial District of Lower Manhattan... perhaps this won't immediately ring a
bell or two, but it's the area of New York where the World Trade Center was. At
night this used to be a quiet neighborhood, with big skyscrapers and office
buildings. Several months before September 11th, 2001, Kenneth Kirschner
walked out one Sunday night to make a field
recording of the area, as part of a series to record various New York neighborhoods.
This recording was sent to various composers to ask their interpretation of the
sound material, using solely these field recordings. We find here luminaries as
Taylor Deupree, Ralph Steinbrüchel, Tomas Korber and Aaron Ximm along with a
piece that Kirschner did himself. As you can imagine this is an album you can
listen with mixed feelings: either ignore whatever happened at the World Trade
Center and view this a series of highly processed and highly 'silent' music (with
Tomas Korber being its champion here) or one could see this as solemn requiem
to those events.
I prefer to choose the latter.
The emptiness that was there when Kirschner made his recordings versus the real
emptiness that is now there, and that comes alive through the music. Each of the
five musicians seems to be aware of this, keeping in mind the tragedy through
softly humming and buzzing of sounds that slowly evolve and revolve. Not a
release to make you happy, but quite an essential and highly human release.
(Frans de Waard)
DIGIMAG (NOVEMBER 2006)
La notte di domenica 6 maggio 2001, Kenneth Kirschner, compositore americano
noto per i suoi esperimenti di riproduzione random-infinita del suono, si aggira per
i quartieri di New York con la sua attrezzatura per riprese audio alla ricerca di
spunti per nuovi pezzi.
Dal materiale acquisito, che contiene anche un prezioso documento degli spazi
del Financial District di Manhattan ancora occupato dalle torri, nasce oggi un cd
dal titolo May 6, 2001. Il lavoro contiene cinque tracce per altrettante
interpretazioni, tutte ottenute a partire dallo stesso materiale, ed è stato
pubblicato lo scorso settembre da and/OAR, etichetta attiva dal 2002 nota ai
cultori del field recording, che focalizza le sue produzioni su audio-reportage,
documentazioni e registrazioni d'ambiente e minimalismo sonoro, con una
particolare attenzione alle implicazioni puramente estetiche, oltre che
documentaristiche, presenti in queste tecniche di audioripresa.
L'acquisizione di esterni sonori (ma talvolta anche di interni...si pensi, per
esempio, alla medicina) si può avvalere di svariate attrezzature, più o meno
professionali, impiegate ad esempio nel giornalismo o nel cinema, che vanno
dall'assemblato di microfono, cuffie e registratore portatile (o computer),
all'utilizzo di particolari microfoni a contatto (per esempio da muro o per
intercettazioni) e binaurali (cioè auricolari), fino alla scelta di strumenti
specificamente nati per la ricerca scientifica come idrofoni, geofoni e così via.
In fondo il concetto è molto semplice: acquisire il suon. Lo si può fare come più
ci piace e a seconda della quantità di gusto che abbiamo in dotazione: se
digitiamo su Google la parola “rutto” per esempio, abbiamo immediatamente
accesso a una libreria vastissima di registrazioni che documentano l'attività
digestiva di ignoti. La gamma dei prodotti per le registrazioni ambientali è infatti
molto vasta e la fantasia con cui questi possono essere combinati insieme è
pressochè infinita. Lo testimonia anche la diffusione del field recording in Italia,
che spesso viene praticato con strumenti comuni e di uso tutt'altro che
specialistico come minidisc portatili, walkman, telecamerine digitali ecc...
Tralasciando la musica concreta o l'utilizzo del nastro nella musica cosiddetta
colta, dove l'utilizzo del materiale sonoro prodotto senza artificio è piuttosto
evidente, prendiamo in considerazione le produzioni musicali pop elettroniche
degli ultimi anni.
Qui il field recording viene spesso utilizzato come materiale da sottoporre a
processi digitali attraverso il software e, per lo più, concepito come un particolare
effetto sonoro: una sorta di sfondo o disturbo indifferenziato che, mescolato con
altri media, è in grado di generare connessioni casuali e inaspettate che
arricchiscono una composizione, un brano o una canzone.
In questo senso moltissimi dischi che hanno fatto la storia della musica pop o folk
possono rientrare a buon diritto in questa categoria; basta pensare, banalmente e
senza sforzo, alla presenza delle regitsrazioni d'ambiente nei primi come poi in
quasi tutti i lavori dei Pink Floyd (motociclette che partono in Atom Heart Mother,
uccelli del paradiso in Ummagumma, colazioni a Los Angeles, fino alle mense
affollate in The Final Cut). Si tratta spesso di un uso puramente descrittivo delle
registrazioni, volto a sortire un'effetto di immedesimazione quasi visiva
dell'ascoltatore in un determinato contesto.
Pensando invece ad etichette come Folkways, impegnata da decenni a
documentare e collezionare le trasormazioni del suono negli ambienti naturali ed
urbani, ci accorgiamo inoltre che esiste un'arte ristretta del field recording che
consiste nell'uscire di casa, possibilmente viaggiare, ascoltare e catturare dei
suoni. Ma questa è solo una questione di metodo e in fondo ciò che conta è che
nella musica, da quando esistono strumenti in grado di acquisire il suono, niente
è mai nuovo, alla faccia dell'autoralità e dei primati...E meno male!
Se poi uniamo il field recording con la vera e propria filosofia dell'Open Source
allora il passo è fatto! Finalmente, come si augurerebbe Blanchot, potremmo
assistere alla scomparsa, o meglio all'esaurimento dell'autore, cioè del soggetto
che percepisce illusoriamente l'opera (il suo oggetto) come frutto di una qualche
attività intellettuale originaria (l'ho fatto io!) piuttosto che come rielaborazione di
un materiale già dato. E in qualche misura questo vale anche per la musica
stumentale se prendiamo in considerazione l'idea di genere...
In ogni caso and/OAR propone lavori interessanti sia per chi ama la musica sia
per chi è semplicemente curioso di calarsi con le orecchie dentro differenze
geografiche, come nel caso del lavoro di Marc Behrens e Paulo Raposo uscito a
ottobre, che hanno ripreso Lisbona (città-sonora già evocata Wim Venders nel suo
film Lisbon Story) spostandosi su Ferry Boats, creando un ritratto di 23 minuti
molto suggestivo.
May 6, 2001 contiene cinque interpretazioni a partire dallo stesso field recording
di partenza. Oltre quella di Kirschner : Taylor Deupree, Tomas Korber, Ralph
Steinbruekel e Aaron Ximm. Ogni singola interpretazione appare particolarmente
ispirata nelle intenzioni lasciando emergere suggestive riflessioni distese nel
tempo, coadiuvate dall'utilizzo di strumenti musicali, equalizzazioni raffinate,
tagli, sovrapposizioni o dall'accostamento di parti grezze e parti manipolate.
Dal sito web di and/OAR è possibile scaricare l'mp3 contenente la versione grezza
di 46 minuti a bassa risoluzione e l'editing (molto bello secondo me) realizzato da
Kirshner sulla base di quel materiale: il ritratto che ne esce è un paesaggio
urbano sordo e desolato, fatto di echi lontani e profondi e segnato dai percorsi
dell'aria ventosa di New York e da piccole raffiche di corrente che sfiorano,
rivelandole, le geometrie degli edifici.
Tutto, le strade, gli uffici, i grandi spazi metropolitani appaiono immersi in una
strana atmosfera, insolita rispetto al viavai e all'operosità che animavano il
Financial Districy allora: è normale che i critici americani siano stati colpiti dalle
similitudini di quel silenzio con il silenzio di oggi a Ground Zero.
(Alessandro Massobrio)
La notte di domenica 6 maggio 2001, Kenneth Kirschner, compositore americano
noto per i suoi esperimenti di riproduzione random-infinita del suono, si aggira per
i quartieri di New York con la sua attrezzatura per riprese audio alla ricerca di
spunti per nuovi pezzi.
Dal materiale acquisito, che contiene anche un prezioso documento degli spazi
del Financial District di Manhattan ancora occupato dalle torri, nasce oggi un cd
dal titolo May 6, 2001. Il lavoro contiene cinque tracce per altrettante
interpretazioni, tutte ottenute a partire dallo stesso materiale, ed è stato
pubblicato lo scorso settembre da and/OAR, etichetta attiva dal 2002 nota ai
cultori del field recording, che focalizza le sue produzioni su audio-reportage,
documentazioni e registrazioni d'ambiente e minimalismo sonoro, con una
particolare attenzione alle implicazioni puramente estetiche, oltre che
documentaristiche, presenti in queste tecniche di audioripresa.
L'acquisizione di esterni sonori (ma talvolta anche di interni...si pensi, per
esempio, alla medicina) si può avvalere di svariate attrezzature, più o meno
professionali, impiegate ad esempio nel giornalismo o nel cinema, che vanno
dall'assemblato di microfono, cuffie e registratore portatile (o computer),
all'utilizzo di particolari microfoni a contatto (per esempio da muro o per
intercettazioni) e binaurali (cioè auricolari), fino alla scelta di strumenti
specificamente nati per la ricerca scientifica come idrofoni, geofoni e così via.
In fondo il concetto è molto semplice: acquisire il suon. Lo si può fare come più
ci piace e a seconda della quantità di gusto che abbiamo in dotazione: se
digitiamo su Google la parola “rutto” per esempio, abbiamo immediatamente
accesso a una libreria vastissima di registrazioni che documentano l'attività
digestiva di ignoti. La gamma dei prodotti per le registrazioni ambientali è infatti
molto vasta e la fantasia con cui questi possono essere combinati insieme è
pressochè infinita. Lo testimonia anche la diffusione del field recording in Italia,
che spesso viene praticato con strumenti comuni e di uso tutt'altro che
specialistico come minidisc portatili, walkman, telecamerine digitali ecc...
Tralasciando la musica concreta o l'utilizzo del nastro nella musica cosiddetta
colta, dove l'utilizzo del materiale sonoro prodotto senza artificio è piuttosto
evidente, prendiamo in considerazione le produzioni musicali pop elettroniche
degli ultimi anni.
Qui il field recording viene spesso utilizzato come materiale da sottoporre a
processi digitali attraverso il software e, per lo più, concepito come un particolare
effetto sonoro: una sorta di sfondo o disturbo indifferenziato che, mescolato con
altri media, è in grado di generare connessioni casuali e inaspettate che
arricchiscono una composizione, un brano o una canzone.
In questo senso moltissimi dischi che hanno fatto la storia della musica pop o folk
possono rientrare a buon diritto in questa categoria; basta pensare, banalmente e
senza sforzo, alla presenza delle regitsrazioni d'ambiente nei primi come poi in
quasi tutti i lavori dei Pink Floyd (motociclette che partono in Atom Heart Mother,
uccelli del paradiso in Ummagumma, colazioni a Los Angeles, fino alle mense
affollate in The Final Cut). Si tratta spesso di un uso puramente descrittivo delle
registrazioni, volto a sortire un'effetto di immedesimazione quasi visiva
dell'ascoltatore in un determinato contesto.
Pensando invece ad etichette come Folkways, impegnata da decenni a
documentare e collezionare le trasormazioni del suono negli ambienti naturali ed
urbani, ci accorgiamo inoltre che esiste un'arte ristretta del field recording che
consiste nell'uscire di casa, possibilmente viaggiare, ascoltare e catturare dei
suoni. Ma questa è solo una questione di metodo e in fondo ciò che conta è che
nella musica, da quando esistono strumenti in grado di acquisire il suono, niente
è mai nuovo, alla faccia dell'autoralità e dei primati...E meno male!
Se poi uniamo il field recording con la vera e propria filosofia dell'Open Source
allora il passo è fatto! Finalmente, come si augurerebbe Blanchot, potremmo
assistere alla scomparsa, o meglio all'esaurimento dell'autore, cioè del soggetto
che percepisce illusoriamente l'opera (il suo oggetto) come frutto di una qualche
attività intellettuale originaria (l'ho fatto io!) piuttosto che come rielaborazione di
un materiale già dato. E in qualche misura questo vale anche per la musica
stumentale se prendiamo in considerazione l'idea di genere...
In ogni caso and/OAR propone lavori interessanti sia per chi ama la musica sia
per chi è semplicemente curioso di calarsi con le orecchie dentro differenze
geografiche, come nel caso del lavoro di Marc Behrens e Paulo Raposo uscito a
ottobre, che hanno ripreso Lisbona (città-sonora già evocata Wim Venders nel suo
film Lisbon Story) spostandosi su Ferry Boats, creando un ritratto di 23 minuti
molto suggestivo.
May 6, 2001 contiene cinque interpretazioni a partire dallo stesso field recording
di partenza. Oltre quella di Kirschner : Taylor Deupree, Tomas Korber, Ralph
Steinbruekel e Aaron Ximm. Ogni singola interpretazione appare particolarmente
ispirata nelle intenzioni lasciando emergere suggestive riflessioni distese nel
tempo, coadiuvate dall'utilizzo di strumenti musicali, equalizzazioni raffinate,
tagli, sovrapposizioni o dall'accostamento di parti grezze e parti manipolate.
Dal sito web di and/OAR è possibile scaricare l'mp3 contenente la versione grezza
di 46 minuti a bassa risoluzione e l'editing (molto bello secondo me) realizzato da
Kirshner sulla base di quel materiale: il ritratto che ne esce è un paesaggio
urbano sordo e desolato, fatto di echi lontani e profondi e segnato dai percorsi
dell'aria ventosa di New York e da piccole raffiche di corrente che sfiorano,
rivelandole, le geometrie degli edifici.
Tutto, le strade, gli uffici, i grandi spazi metropolitani appaiono immersi in una
strana atmosfera, insolita rispetto al viavai e all'operosità che animavano il
Financial Districy allora: è normale che i critici americani siano stati colpiti dalle
similitudini di quel silenzio con il silenzio di oggi a Ground Zero.
(Alessandro Massobrio)
TOUCHING EXTREMES (DECEMBER 2006)
The strange coincidence between the intentions of Kenneth Kirschner, who on
May 6, 2001 recorded sounds from the Financial District of Manhattan to start a
new documentary work about New York, and the disguised organizations that
decided that this particular area would become a symbol of destructive political
greed masked as "war of religions", is what gives this work its ominous complexion.
All the involved composers designed their tracks by working on the same sources,
most of them with stunningly engrossing results and - above all - keeping their own
artistic personality intact and recognizable. Kirschner's field recordings - here
presented in an abridged version, the full one being available for downloading at
the label's website - privilege obscure imagery of pulsating nocturnal energies,
whirring loops of distant noise, traffic and subterranean hiss as disquieting
presences scrutinizing us from behind. Steinbrüchel and Ximm are at the extreme
opposites of the sonic range: the Swiss artist offers an almost immutable,
low-frequency electronic drone while Ximm seems to depict the movement of
inhuman entities from the underground in what's the most active track in terms of
scansion. Taylor Deupree's is probably the most "musical" contribution, his short
track mixing interlocking circular patterns of harmonic semi-degradation with what
sounds like heavily processed "concrete" sounds. Finally, total silence and,
possibly, solitude are necessary to appreciate the dynamic range of Tomas
Korber's piece, clocking at 22'04" and, for this reason, the one track that touches
all the different sensations - silence, menace, human and urban activity - that the
whole record means to let us experience, and that become reasons for more and
more anxiousness with each new listening, thus determining the complete success
of this conceptual, yet emotional project. (Massimo Ricci)
The strange coincidence between the intentions of Kenneth Kirschner, who on
May 6, 2001 recorded sounds from the Financial District of Manhattan to start a
new documentary work about New York, and the disguised organizations that
decided that this particular area would become a symbol of destructive political
greed masked as "war of religions", is what gives this work its ominous complexion.
All the involved composers designed their tracks by working on the same sources,
most of them with stunningly engrossing results and - above all - keeping their own
artistic personality intact and recognizable. Kirschner's field recordings - here
presented in an abridged version, the full one being available for downloading at
the label's website - privilege obscure imagery of pulsating nocturnal energies,
whirring loops of distant noise, traffic and subterranean hiss as disquieting
presences scrutinizing us from behind. Steinbrüchel and Ximm are at the extreme
opposites of the sonic range: the Swiss artist offers an almost immutable,
low-frequency electronic drone while Ximm seems to depict the movement of
inhuman entities from the underground in what's the most active track in terms of
scansion. Taylor Deupree's is probably the most "musical" contribution, his short
track mixing interlocking circular patterns of harmonic semi-degradation with what
sounds like heavily processed "concrete" sounds. Finally, total silence and,
possibly, solitude are necessary to appreciate the dynamic range of Tomas
Korber's piece, clocking at 22'04" and, for this reason, the one track that touches
all the different sensations - silence, menace, human and urban activity - that the
whole record means to let us experience, and that become reasons for more and
more anxiousness with each new listening, thus determining the complete success
of this conceptual, yet emotional project. (Massimo Ricci)
THE WIRE (JANUARY 2007)
In what must have been the wee hours of 6 May 2001, composer Kenneth
Kirschner captured New York City in a state of near silence with a set of field
recordings from its financial district, a series of quietly undulating grey drones with
no discernible human activity. The absence of humanity becomes even more
profound considering that just a few months later, the area was one of the sites by
the attacks of 11 September. Kirschner has made this recording available for free
download from his website, and and/OAR commissioned four notable sound artists
to rework the piece. Ralph Steinbrüchel extracts sonorous harmonics for his
radiant, if desolate composition; Aaron Ximm re-engineers Kirschner's sounds into
a mechanical chugging; and Tomas Korber's lengthy remix dynamically explodes
through a compressed hiss and collapses into minute crackling, comparable to the
strategies of Francisco Lopez. Taylor Deupree concludes matters with a hearty
melding of discordant activity and electronic melody. (Jim Haynes)
In what must have been the wee hours of 6 May 2001, composer Kenneth
Kirschner captured New York City in a state of near silence with a set of field
recordings from its financial district, a series of quietly undulating grey drones with
no discernible human activity. The absence of humanity becomes even more
profound considering that just a few months later, the area was one of the sites by
the attacks of 11 September. Kirschner has made this recording available for free
download from his website, and and/OAR commissioned four notable sound artists
to rework the piece. Ralph Steinbrüchel extracts sonorous harmonics for his
radiant, if desolate composition; Aaron Ximm re-engineers Kirschner's sounds into
a mechanical chugging; and Tomas Korber's lengthy remix dynamically explodes
through a compressed hiss and collapses into minute crackling, comparable to the
strategies of Francisco Lopez. Taylor Deupree concludes matters with a hearty
melding of discordant activity and electronic melody. (Jim Haynes)
E / I (SEPTEMBER 2007)
Some few months before the event which seemed to hamper all motion like a
jammed cinema reel took place, Kenneth Kirschner was prowling the Financial
District of Lower Manhattan, that area where a rupture in the real took place on
the eleventh of September. These now overexposed events would seem to have
retroactively infused Kirschner’s recording with a certain ominous complexion. In
the staid immobility of pieces, in their reliance on heavily processed concrete
sounds which oftentimes sound frozen, halted, they render this urban activity more
fully alive and visible. Strange, then, that while the events which gave this
recording its bite is now itself dead, assassinated by the camera, perhaps,
Kirschner’s work still possesses a certain glimmer, a certain vitality or sense of life.
Asides from Kirschner himself, Taylor Deupree, Aaron Ximm, Steinbruchel, and
Tomas Korber act as parasites, colonizing the surprisingly quiet aural environment
that collected like dust around the Twin Towers. The selection from Steinbruchel
is a dry, intimate, and detailed low frequency drone while Ximm, filling out the
other end of the spectrum, features slurred electronic tones interspersed with
sudden moments of panic and fluidity. Even in the clearer, more coherent
moments, as in the work from Deupree, where tone clusters are allowed to refract
gently in subtle ways, there is an overarching sense of something physical and
dangerous. All of this comes to fruition in the twenty-two minute piece from
Korber, which is an endless sliding from silence, to methodical probing of
nocturnal themes, to downright unsettling audio murk. Korber’s piece is thus
vigorous and vibrant; especially near the latter portions of the composition where
particular parts exceed their limited place and explode the constraints of the
balanced totality, that is, when the high-density textures ring out in deranged
exaltation before collapsing into a dull shimmering. It’s a rich and inventive set of
interpretations, and a fine twisting together of individual fibers into an intricate
whole. (Max Schaefer)
Some few months before the event which seemed to hamper all motion like a
jammed cinema reel took place, Kenneth Kirschner was prowling the Financial
District of Lower Manhattan, that area where a rupture in the real took place on
the eleventh of September. These now overexposed events would seem to have
retroactively infused Kirschner’s recording with a certain ominous complexion. In
the staid immobility of pieces, in their reliance on heavily processed concrete
sounds which oftentimes sound frozen, halted, they render this urban activity more
fully alive and visible. Strange, then, that while the events which gave this
recording its bite is now itself dead, assassinated by the camera, perhaps,
Kirschner’s work still possesses a certain glimmer, a certain vitality or sense of life.
Asides from Kirschner himself, Taylor Deupree, Aaron Ximm, Steinbruchel, and
Tomas Korber act as parasites, colonizing the surprisingly quiet aural environment
that collected like dust around the Twin Towers. The selection from Steinbruchel
is a dry, intimate, and detailed low frequency drone while Ximm, filling out the
other end of the spectrum, features slurred electronic tones interspersed with
sudden moments of panic and fluidity. Even in the clearer, more coherent
moments, as in the work from Deupree, where tone clusters are allowed to refract
gently in subtle ways, there is an overarching sense of something physical and
dangerous. All of this comes to fruition in the twenty-two minute piece from
Korber, which is an endless sliding from silence, to methodical probing of
nocturnal themes, to downright unsettling audio murk. Korber’s piece is thus
vigorous and vibrant; especially near the latter portions of the composition where
particular parts exceed their limited place and explode the constraints of the
balanced totality, that is, when the high-density textures ring out in deranged
exaltation before collapsing into a dull shimmering. It’s a rich and inventive set of
interpretations, and a fine twisting together of individual fibers into an intricate
whole. (Max Schaefer)
THE SQUID'S EAR (APRIL 2008)
From the Pacific Northwest's most visible city, Seattle's and/OAR label has been
quietly — surely and steadily — passing considerable muster amongst
experimental music's cognoscenti. Aligned with a veritable who's who of folks
doing work around, throughout and across the margins, artists bursting at the
underground's seams where the truly innovative recordings reside, label owner
Dale Lloyd's a crafty conduit for talent; each and/OAR release, smartly if simply
packaged (though Lloyd's recently moved the catalog into more tangible
digipaks), offers tantalizing glimpses into psyches pushing at those sacred
envelopes, be it isolationist drone, murky microsound, electroacoustic
paraphrasing or any number of twilight zones in between.
The best and the brightest are well represented on May 6, 2001. The nucleus of
the recording arises from, as the inside sleeve tells it, "a field recording by
Kenneth Kirschner recorded in the financial district of Lower Manhattan on May 6,
2001." Exactly how that date is significant is unclear, nor is the modus operandi of
said "field recording" in evidence anywhere amongst the five contributors tracks.
Nevertheless, what is significant is that each artist, in their own indomitable styles,
has flensed out whatever inherent traits Kirschner's sample contained. Distorted
low-end "bass" thrums launch Steinbruchel's "Bank" until long-distance cushioned
static charges and a single elongated tone attacks the fundamental waveform:
one could almost see this as the artist's "re-imagining" of Alvin Lucier's "Music On
A Long Thin Wire" outputted through the skein of contemporary signal processors.
Brittle, if a bit cold, it remains well connected to Steinbruchel's trademark
imprimatur. Aaron Ximm's built a respectable career out of documenting sonic
texture via his own astute field recordings, but "Negative Architectures" is nothing
if not atypical: fixing Kirschner's sample inside a cyclotron, he's concocted a
diminuitive tornadic whirligig of sound that tosses off random bits like so much
aural debris.
Kirschner's own contribution makes a blizzard out of Steinbruchel's
narrow tone, stretching it tautly across barren, desolate horizons creased by
digitalia as tiny microevents attempt to rise above the machinic gusts — riveting
stuff for certain. Tomas Korber chimes in with the lengthiest piece: at over 22
minutes, "Financial District" at first is barely noticeable, just near-invisible curdling
sounds that gently fizz right at audibility's edge, but it doesn't last long. Soon those
brusque digital windstorms blow again, gusty enough to achieve torrential rage,
the rising rocket exhaust blast attaining Merzbow-ian proportions, before those
earlier sound curdles begin to metamorphose into herds of otherworldly, scuttling
microorganisms — listen close and revel. Finally, Taylor Deupree's closing "Dust"
is the "sunniest" piece of all, its somersaulting hums and strange rubbings
something of a balm compared to the coarser grains that preceded it.
Rubberstamp the date: May 6, 2001 affixes itself in memory sans any pre-existing
genre conditions. (Darren Bergstein)
From the Pacific Northwest's most visible city, Seattle's and/OAR label has been
quietly — surely and steadily — passing considerable muster amongst
experimental music's cognoscenti. Aligned with a veritable who's who of folks
doing work around, throughout and across the margins, artists bursting at the
underground's seams where the truly innovative recordings reside, label owner
Dale Lloyd's a crafty conduit for talent; each and/OAR release, smartly if simply
packaged (though Lloyd's recently moved the catalog into more tangible
digipaks), offers tantalizing glimpses into psyches pushing at those sacred
envelopes, be it isolationist drone, murky microsound, electroacoustic
paraphrasing or any number of twilight zones in between.
The best and the brightest are well represented on May 6, 2001. The nucleus of
the recording arises from, as the inside sleeve tells it, "a field recording by
Kenneth Kirschner recorded in the financial district of Lower Manhattan on May 6,
2001." Exactly how that date is significant is unclear, nor is the modus operandi of
said "field recording" in evidence anywhere amongst the five contributors tracks.
Nevertheless, what is significant is that each artist, in their own indomitable styles,
has flensed out whatever inherent traits Kirschner's sample contained. Distorted
low-end "bass" thrums launch Steinbruchel's "Bank" until long-distance cushioned
static charges and a single elongated tone attacks the fundamental waveform:
one could almost see this as the artist's "re-imagining" of Alvin Lucier's "Music On
A Long Thin Wire" outputted through the skein of contemporary signal processors.
Brittle, if a bit cold, it remains well connected to Steinbruchel's trademark
imprimatur. Aaron Ximm's built a respectable career out of documenting sonic
texture via his own astute field recordings, but "Negative Architectures" is nothing
if not atypical: fixing Kirschner's sample inside a cyclotron, he's concocted a
diminuitive tornadic whirligig of sound that tosses off random bits like so much
aural debris.
Kirschner's own contribution makes a blizzard out of Steinbruchel's
narrow tone, stretching it tautly across barren, desolate horizons creased by
digitalia as tiny microevents attempt to rise above the machinic gusts — riveting
stuff for certain. Tomas Korber chimes in with the lengthiest piece: at over 22
minutes, "Financial District" at first is barely noticeable, just near-invisible curdling
sounds that gently fizz right at audibility's edge, but it doesn't last long. Soon those
brusque digital windstorms blow again, gusty enough to achieve torrential rage,
the rising rocket exhaust blast attaining Merzbow-ian proportions, before those
earlier sound curdles begin to metamorphose into herds of otherworldly, scuttling
microorganisms — listen close and revel. Finally, Taylor Deupree's closing "Dust"
is the "sunniest" piece of all, its somersaulting hums and strange rubbings
something of a balm compared to the coarser grains that preceded it.
Rubberstamp the date: May 6, 2001 affixes itself in memory sans any pre-existing
genre conditions. (Darren Bergstein)
