Label: Elevator Bath
Helen Scarsdale Agencyを運営者Jim Haynesによる同国のElevator Bathからリリースした最新LP。Simon Whethamが中心になり多くのアーティストが参加しているらしい、旧ソ連時代の負の遺産が残るエストニアの村を舞台としたフィールドレコーディング・プロジェクトの一環として制作された作品。同コンセプトのカセット作品を自身のレーベルからリリースしていますが、こちらはバリバリの完全エレクトロアコースティック。2作合わせて是非。クリアーヴァイナル仕様、限定300。
The new LP from Jim Haynes is a haunted and provocative endeavor, rust-covered and mysterious. It is the result of an immersive listening/recording process through which Haynes' singular techniques intersected with an unfamiliar, disquieting landscape....
"The album was mostly composed, recorded, and sketched during an Estonian residency at MoKS for a program that was hosted by Simon Whetham and John Grzinich called Active Crossover. The goal of that program was to bring together various artists whose work pertained directly or indirectly to environmental recordings. When John asked me about what kinds of spaces I was interested in seeking out before I arrived, I mentioned that I would like to investigate sites that had a considerable amount of electro-magnetic disruption which I could capture on radio along with sites of psychic distress.
The Estonian landscape is pocked with abandoned buildings of considerable size and decay. Many of the excursions for Active Crossover engaged the large crumbling Soviet-era structures. Given that the electricity was off in many of these sites, I had to rely on shortwave to capture any electro-magnetic disruptions instead of any fluctuations from shitty wiring or weird Soviet power transformers... and the radio reception from that particular time and that particular place (i.e. southeastern Estonia) was eerie and unsettled. The crackle, drone, and noise is unlike that which is heard in the United States, looming with a (possibly perceived) paranoia of the Russian state just a few kilometers away. That said, Estonia had experienced an encroachment from Russia as the Russian military kidnapped/extradited an Estonian intelligence officer who was on Estonian soil at the time not too far from where I was staying. Given the contemporary military actions of Russia reclaiming Crimea from Ukraine, this incident put many an Estonian on edge.
The A-side to 'Flammable Materials' reflects this aestheticized paranoia through bursts of static, pulsed noise, and atonal sinews of sustained frequency. The B-side is wholly more introspective, cutting up an Estonian radio broadcast into phonemes, disjointed phrases, and cryptic speech. What few words that can be recognized from the Estonian pertain to the forces of globalization. From the context of someone who understands very little of the language, these snippets of a female voice clip like a surrealist collage or a Dada poem. Compositionally, I was thinking very much of Robert Ashley's 'Purposeful Lady Slow Afternoon' and the Nurse With Wound recontextualization of such sounds."
- Jim Haynes