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[musique concrete, electronic, contemporary avant-garde] Annie Gosfield - 2001 - Flying Sparks And Heavy Machinery (FLAC, Tzadik 7069)

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Torrent File Content (10 files)

Description

Music : Other : Lossless
      

Tzadik TZ 7069.

EWA7
1	Rotation - The Rails To Fürth - From Lever To Wheel: Revolution,
Translation, Cylinders - The Unaflow Principle - Friction	19:07
2	Puncher - The Product Of Force And Motion -
Pipes: Transmisson Of A Yellow Pipe, Mechanical Firing Of A Yellow Pipe	11:06
3	Impulse Turbine: Inlet, Exaust -
Combustion Chamber	12:10
-
4	Flying Sparks And Heavy Machinery 14:38

Annie Gosfield:
sampling keyboard (1-3)
Jim Pugliese: drums, percussion (1-3)
Sim Cain: drums, percussion
(1-3)
Roger Kleier: electric guitar (1-3)
Hans Günter Brodmann: metal factory percussion
(1-3)
Matthias Rosenbauer: metal factory percussion (1-3)
Ikue Mori: electronics (1-3)
Flux String Quartet (4):
Darrett Adkins: cello
Kenji Bunch: viola
Cornelius Dufallo, Tom Chiu:
violins
Talujon Percussion Quartet (4)

Annie Gosfield's outdone herself this time. The two
compositions here, "EWA7" and the title piece, are related, first cousins, based in a sound world she
discovered while traveling through the factories of Nuremberg trying to record enough sounds to create something that
mirrored art and industry back to one another. A gargantuan piece over 42 minutes in length, "EWA7" is
comprised of different machine sounds captured in their original landscapes from huge drill presses and steel rollers to
the buzzing sound of arc lights overhead. From this cacophony of noise, Gosfield began to hear patters emerge and
timbres assert themselves, even rhythms begin to make some kind of sense through the din. There are three movements in
"EWA7" -- named for the factory in which it was performed -- and numerous sections within. There are all
manner of industrial sounds, played by workers running cranes and presses, and organic percussion as well as industrial,
played by not only workers but members of her ensemble like Jim Pugliese and Sim Cain and effects by Ikue Mori,
Gosfield's sampling and tape manipulations, and Roger Kleier's electric guitar (a very altered electric guitar).
Sections overlap, sounds disappear and return, insistent one moment whispering the next -- all of them melding into a
gorgeous dreamlike whole. The title track was composed for string and percussion quartets, based on the material she had
discovered in Germany. In true mirror image, the piece is completely acoustic; there is no electronic tape or sampling.
According to the composer she used transcriptions of on-site factory recordings and Russian
constructivist-inspired manifestations of industrial activity. But the truth of the matter is, it sounds like a
wondrously tense creation of tension, that between the tensile expressive nature of strings with all of their
subtleties, and the dynamic, dramatic nature of percussion, not blended, but set in stark contrast to one another and
making a language that exists somewhere in between. It's only a third the length of "EWA7" but with its
wrangling sonorities and tonal implications, it doesn't need to be any longer. Without question, this Annie Gosfield's
masterpiece thus far, and points in a direction that almost guarantees a new musical framework that will embody,
include, and represent the sounds of everyday life in the art of the future. - Thom Jurek, AMG                                                            Show Demonoid some love
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