Label: Hi-Res AUDIO
過去にディストリビューターMimaroglu Music Salesを主宰、現在は主にモジュラーシンセを使いエレクトロ・アコースティック作家、コンポーザー、プロデューサーとして動いているKeith Fullerton Whitman。2020年から開始した自身のプライベート音源を全48部限定のカセットフォーマットで出版するHi-Res Audioシリーズ。本作はパブリックな現場の光景のために、そしてもう一つはプライベートの無人の部屋のためにというコンセプトで制作された2本組カセット音源。パッキパキで硬質なドギツイ音響からアンビエント持続音、ミニマルミュージックまでを披露し、パブリックでは野外のサウンドスケープと共に、プライベートでは独特の空間の鳴りを利用した録音が聞けます。
Fifth in this series of short-run "Hi-Res Audio" releases is this double-cassette edition of the entirety of "Private Performance, Public Rehearsal" as produced in mid-June, 2020. This comes as a "NRS- Type I Normal Bias C-40 Blue Solid - Tabs Out (No Screws)" tape & a "NRS- Type I Normal Bias C-50 Blue Solid - Tabs Out (No Screws)" pair (respectively), each with full-color printed labels, each inside a "BLUE NORELCO CASSETTE BOX" alongside double-sided full-color printed J-Cards with gold-foil-stamped "Hi-Res AUDIO Stickers" affixed to the outside of each Norelco, all housed inside a pair of "JAPAN RESEALABLE PLASTIC BAG for CASSETTE TAPE Top Open w/Flap" sleeves, with the kanji-imprinted strips left intact; cello-taped shut.
These were dubbed (hot) to tape from the original masters in batches of 4 via a Recordex Soundmaster IV here in the studio in Brooklyn, NY; I have gone to great lengths to preserve both the original concert-dynamic & the private-session solace via a pair of tapes which are discretely selected in matched pairs from a sum-source of 4 separate image-sets/ideologies. No two copies of the finished set are the same (labels, J-cards, etc. are chosen from a pair of 4 design-ways & mathematically speaking are somewhat discrete on an individualized ownership-scale; at the very least there are 16 separate key-combinations to receive, at random, and no there is no cheating).
Intended as a double-cassette release from the start, this suite of music; conceived, actualized, spatialized, & recorded in Quad over a Funktion-One array in a room in Athens' Exarchia district over a 3-day period, is an attempt to blur the hard, systemic lines between focused & unfocused listening.
Presenting two programs; one realized purely for the sake of the "public" in-situ spectacle, the other an entirely revisionist affair based on the "private" experience of having played & recorded a separate, unheard set of music for an empty room later to be assessed & finalized, the master narrative arc folds from solace to chaos, fully embracing the bipolar nature of musical & artistic practice as a means of expression.
All of the music heard here shares the same genetic makeup: "Generative" 4-voice ASR oscillator canons & "Redacted" source materials gathered in & around the environment in question, including contributions by Chris Chondropoulos & elements gathered during one of Christina Kubisch's Electrical Walks, utilizing her proprietary receiver headphones.
Prior to the audience's gathering for the "public" event, the same configuration was performed to an empty room for approximately one hour; the first segment of the second tape captures the moments right before & after the doors to the venue were unlocked, the final segment the transition back to "private".
Recorded at Romantso, Athens, Greece, May 23rd, 24th, and 25th, 2017 as part of documenta 14. Mixed and Mastered at GRM, Paris, France on November 14th, 2017. Thanks to Paolo Thorsten-Nagel, Dmitri Papadatos, Bill Kouligas, Christos Chondropoulos, Stratos Bichakis, Constant Dice, Nektarios Papadimitriou, Yorgos Yeorgiou, Christina Kubisch, Alan Bishop, & François Bonnet.