Leif Brush // Stitching in Process: Windmixed Data 2xLP

Leif Brush // Stitching in Process: Windmixed Data 2xLP

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玄人好みの作品を出版する米国NYのPentimentsから、同国サウンドアートのパイオニアLeif Brushの過去作品抜粋盤がリリース。2枚組11曲入り、見開きジャケットというボリュームで彼の音響彫刻を堪能できます。マスタリングはGiuseppe Ielashiが担当。200枚組です。

<a href="https://pentiments.bandcamp.com/album/stitching-in-process-windmixed-data">Stitching in Process: Windmixed Data by Leif Brush</a>
<a href="https://pentiments.bandcamp.com/album/stitching-in-process-windmixed-data">Stitching in Process: Windmixed Data by Leif Brush</a>

"Pentiments continues its collaboration with the legendarily enigmatic American sound art pioneer Leif Brush, this time with an extensive double LP release representing the most comprehensive collection of his recorded work to date. In plumbing the depths of his archives, we’ve unearthed and gathered a great breadth of his decades-long sonic research, spanning from his early work as a grad student to various lecture documents from his eventual tenure at UMD, with many curious stops and experiments in between.

'Stitching in Process: Windmixed Data' brings these fragments together with a somewhat new perspective on their trajectory—pieces are reconsidered, refreshed, and given a new sense of continuity, aided additionally by the expert mastering of Giuseppe Ielasi. Most importantly, this release marks the first commercially available compendium of Leif’s greater body of work in his 85 years of life, and for those keen on the early exploration of sound and its potentials, it is a revelation that is long overdue. In an edition of 200 with high gloss gatefold sleeve featuring the photo work of Gloria DeFilipps Brush."

Artist : Leif Brush

Label : Pentiment

Artist : Leif Brush

Label : Pentiment

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A Jurist For Nothing was recorded, composed, performed, and engineered entirely by him, with the exception of one song, which features cello contributions from \u003c\/em\u003e\u003cem\u003efrequent collaborators Judith Hamann (Argonaut String Quartet, Golden Fur) and Lori Goldston (Nirvana, Earth).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\"Renouncer\" opens the album with a whoosh of liquid, and a zap of electronics. For anyone with oceangoing experience, an\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e inrush of water is a hackle-raising sound that represents a breach of vessel integrity. So begins Jones' investigations below the surface of things on A Jurist For Nothing. Jones’ extensive experience with underwater acoustics, guitar music, and recording techniques are the principle methods his songs arise from. As with most polymaths, there are themes unseen that drive Jones' creative process. Here, primarily, they seem to be evaluations of institutions, secrecy, and the systemic breakdown of social contracts.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe waves of \"Renouncer\" give way to near inaudible ticking, and quiet field recordings; a strawberry spring of silence that sets the tone for \"Anna Politkovskaya\", named for the Russian journalist assassinated for her work reporting the Chechen war. Politkovskaya's \u003c\/em\u003e\u003cem\u003ededication to secrecy with her sources gained her a constant flow of information she fearlessly reported. Jones represents this arc of her career faithfully. Opening on a field recording of a faint drip, the track gains a sustained tension via rhythmic signal pulse before fading to silence. It's a tense, cinematic piece that bends the arc of time with its gravity, stretching two and a half minutes into what plays like a two and a half hour thriller of political intrigue.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe album's codae, \"explicate order\", and \"we will embrace the singularity\" are shimmering reflections of Jones' improvisational style, and his live performances. Pitched field recordings, weather band VHF, and guitars --electric, acoustic, and pedal steel-- all figure here in \u003c\/em\u003e\u003cem\u003ecompositions right for film as they are for casual listening.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs a youth Jones played rock guitar, but its restrictiveness led to discrete searches for household timbres, experimenting with recording techniques, and deeper sonic waters. Like the founders of musique concrete, Pierre Henry and Pierre Schaeffer, he's interested in the \u003c\/em\u003e\u003cem\u003eeveryday, scouring the air for inspiration. He'll stop mid conversation to investigate the source of a sound, and record it -- or later miking objects to gain their secrets. Space and propagation are his tools, and he's not limited to typical studios and concert halls. Jones makes \u003c\/em\u003e\u003cem\u003ecathedrals and studios out of the inlets and waterways of the Puget Sound, as much as public spaces and public transportation.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMidway through the album, a rhythm begins to take place. Dissonant acoustic melody and chords join a transposed field recording and an electronic drone. It's an aperitif to whet the appetite of the ears before Jones strikes with his title track, and centerpiece. “A Jurist For Nothing” is an arrhythmia shot through with electronics. Piercing waves and quaking drones swell in volume, accompanying Jones' guitar on a trip into the album's crest.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eOn the backside of the wave, the sounds become harmonious, and one might notice then that the ride has been a bloom of recording techniques, beginning with lo-fi, on into the cinematic. The guitar has come into tune, leading us to a faithful rendition of Townes Van Zandt's \"Rake\". Jones sings blood analogue to the Texas mystic, just above a fingerpicked guitar and Goldston’s and Hamann’s moving cellos. Van Zandt's lyrical mysticism sits in for Jones’ experiments -- both of them meant to honor the power and mystery of relationships and the natural world. A fitting closer, a humble instance of two Texas con-conformists using music as an investigative tool, asking us to evaluate and dislodge our own secrets.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : A.F. Jones\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGertrude Tapes\u003c\/span\u003e\u003c\/p\u003e"}