Hair and Space Museum // Human Presence TAPE
- Availability:
アメリカ・シアトルのアンビエントデュオHair and Space Museumが、2024年9月に同国エレクトロニックレーベルBeacon Soundから100本限定でリリースしたカセットです。
ロングフォームなアンビエントドローン2曲を収録。特殊紙ケース仕様です。廃盤です。
※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ
レーベルその他作品はこちら /// Click here to see more Beacon Sound releases available at Tobira.
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Ask us for digital files. Cassette in cardstock case. Edition of 100.
Tracklist:
1. Heliosheath 23:50
2. Passage 25:20
Beacon Sound:
"'The music I’ve heard feels a bit like watching the birth of humanity from space.' This is how the artist Joey Veltkamp described the first music that Emily Pothast and David Golightly released under the name Midday Veil in 2009. At the time, the duo was recording at home, primarily using vintage analog synthesizers and richly textured, often wordless vocals to weave shimmering, slow-building sonic tapestries.
While Midday Veil morphed into a rock band, Pothast and Golightly continued to work as a duo, performing long-form improvised soundscapes and creating immersive audiovisual installations under the name Hair and Space Museum. During its first decade, HaSM organized sleepover concerts, performed in a planetarium with a live laser artist, and shared stages with Hans-Joachim Roedelius, Norm Chambers, and Laraaji. Their recorded output, however, has thus far remained elusive.
The two side-long tracks on Human Presence were recorded in Seattle in 2012, the year we were promised the world would end, but it didn’t. Each was recorded in a single take with no overdubs.
The first track, “Heliosheath,” was produced just as the Voyager 1 space probe became the first manmade object to pass beyond the outermost region of the solar system. The music conjures a sense of rapturous awe tinged with melancholy, both for the otherworldly aspirations embodied in this lonely little object and the equally profound misguidedness of the military-industrial culture that launched it — the irony of yearning for extraterrestrial contact while subjecting the miraculous richness of life on Earth to extractive violence in the same gesture. This recording subsequently provided the soundtrack for the Hair and Space Museum installation “Infinity Music Machine,” where audiences could listen on headphones while zoning out inside a light-tight black pyramid as an earthbound alternative to interstellar travel.
A drifting galaxy of twinkling arpeggiators and diaphanous drone, “Passage” is the audio component of a multimedia installation created by HaSM for Seattle’s Bumbershoot Festival in 2012. This installation also featured a ceiling-mounted projector that generated analog video feedback in real time so that visitors entering the exhibition hall would transform the flowing, organic patterns on the floor by walking through them, creating a constantly shifting visual echo of their presence. Like “Heliosheath,” its tone is ecstatic and elegiac—an ambivalent witness to the cursed blessings of the human project."
Artist : Hair and Space Museum
Label : Beacon Sound
アメリカ・シアトルのアンビエントデュオHair and Space Museumが、2024年9月に同国エレクトロニックレーベルBeacon Soundから100本限定でリリースしたカセットです。
ロングフォームなアンビエントドローン2曲を収録。特殊紙ケース仕様です。廃盤です。
※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ
レーベルその他作品はこちら /// Click here to see more Beacon Sound releases available at Tobira.
----------------------------
Ask us for digital files. Cassette in cardstock case. Edition of 100.
Tracklist:
1. Heliosheath 23:50
2. Passage 25:20
Beacon Sound:
"'The music I’ve heard feels a bit like watching the birth of humanity from space.' This is how the artist Joey Veltkamp described the first music that Emily Pothast and David Golightly released under the name Midday Veil in 2009. At the time, the duo was recording at home, primarily using vintage analog synthesizers and richly textured, often wordless vocals to weave shimmering, slow-building sonic tapestries.
While Midday Veil morphed into a rock band, Pothast and Golightly continued to work as a duo, performing long-form improvised soundscapes and creating immersive audiovisual installations under the name Hair and Space Museum. During its first decade, HaSM organized sleepover concerts, performed in a planetarium with a live laser artist, and shared stages with Hans-Joachim Roedelius, Norm Chambers, and Laraaji. Their recorded output, however, has thus far remained elusive.
The two side-long tracks on Human Presence were recorded in Seattle in 2012, the year we were promised the world would end, but it didn’t. Each was recorded in a single take with no overdubs.
The first track, “Heliosheath,” was produced just as the Voyager 1 space probe became the first manmade object to pass beyond the outermost region of the solar system. The music conjures a sense of rapturous awe tinged with melancholy, both for the otherworldly aspirations embodied in this lonely little object and the equally profound misguidedness of the military-industrial culture that launched it — the irony of yearning for extraterrestrial contact while subjecting the miraculous richness of life on Earth to extractive violence in the same gesture. This recording subsequently provided the soundtrack for the Hair and Space Museum installation “Infinity Music Machine,” where audiences could listen on headphones while zoning out inside a light-tight black pyramid as an earthbound alternative to interstellar travel.
A drifting galaxy of twinkling arpeggiators and diaphanous drone, “Passage” is the audio component of a multimedia installation created by HaSM for Seattle’s Bumbershoot Festival in 2012. This installation also featured a ceiling-mounted projector that generated analog video feedback in real time so that visitors entering the exhibition hall would transform the flowing, organic patterns on the floor by walking through them, creating a constantly shifting visual echo of their presence. Like “Heliosheath,” its tone is ecstatic and elegiac—an ambivalent witness to the cursed blessings of the human project."
Artist : Hair and Space Museum
Label : Beacon Sound
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