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[free improvisation, electroacoustic] Patrick Farmer, Kostis Kilymis, Sarah Hughes, Stephen Cornford - 2011 - No Islands (FLAC, Another Timbre 46)

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Another Timbre at46.

1. Improvisation 9:24
2. Improvisation 17:40
3. John Cage:
four6 30:10

Patrick Farmer: turntables & electronics
Kostis Kilymis: electronics
Sarah Hughes: chorded zither
Stephen Cornford: amplified piano

As purveyors of the
Compost and Height website/label and untiring makers of things, Patrick Farmer and Sarah Hughes have high profiles of
late, and this little disc won't do anything to diminish that. With Farmer on turntables and electronics, Hughes
playing chorded zither, Kilymis on electronics and Cornford with his amplified piano, this quartet tackles John
Cage's "four6" and a pair of short improvisations. Their usual stock in trade is a mostly quiet carpet of
crackle, hum and fizz, often mimicking natural sounds, as in the first few minutes of the first untitled improvisation
which sound much like rain on a flat surface. Squeaking and ominous rumbling then accumulate and threaten to get out of
control. There's a definite feeling of chaos just beyond, as hums grow and divide and electric pops intrude, which
are peeled away to reveal a skipping, skittering plasticity with an electronic pulse with odd bell-like sounds.
It's often difficult to imagine how these sounds are being made, and that's half the fun.
The second
improvisation has an odd metallic cloud hanging in it, and a wall of squeak and wail gives way to a quiet chord with low
bass hum and delicate feedback. Way underneath I can hear birds. The changes then come a bit too quickly to describe in
detail. There's an awful lot going on and things happen very quickly. Textures appear, shift and rub against each
other in a myriad of ways. Sonic surprises and an occasional LOUD crash or bang keep the attention from wandering.
Lastly they work with one of John Cage's "number pieces". These late compositions were all written in a
similar way, with timed brackets indicating when and for how long a sound is to be played. Each player gets to choose
what sounds they will be using and where they will enter and exit within their allotted times. There is usually a time
limit to these pieces, and many players have chosen to present them as loops, repeating the structure a set number of
times. I believe that is what's happening here as well, as events seem to repeat over time, but shift slightly in
relation to each other. Overall, this piece is a bit more subdued, with events following one after another over a bed of
birdsong and occasional quiet voices. Spare piano notes hover and turn into quiet feedback, crackles like fire arise and
dissipate, and odd metal brushings hang about in the corners. On headphones this is a feast of detail. No wonder
it's made so many people's 2011 'best of' lists. - Jeph Jerman, Squid’s Ear   Show Demonoid some love with  BitCoin:
1DNoid2VRyfYn9T38Z1SZ5XncG7WMgCeUL How to get BitCoin?  


           

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