Label: Industrial Abbotsford
部数不明、お見逃しなく。Keith Fullerton Whitmanが2016年に立ち上げたbroken-music系列のレーベルIndustrial Abbotsfordの第二弾作品。Creel Poneの仕事でも知られている通り大の電子音楽マニア、またモジュラーシンセ使いである氏が3年間に渡り録音し続けたという、CD6枚組全6時間以上というとんでもないボリュームの拡張型電子音楽作品[Late Monoliths]！！ Douglas Leedyの71年傑作3LPボックス[Entropical Paradise]、2011年に他界したRichard Lainhartの74年作[White Night]が解説に出ていますが、まさにその路線を行く単調且つ柔らかいパターンで編成された恍惚すぎる一大長編。お早めに。
Second release Broken-Music's in-house imprint; six hour-plus-long pieces of extended-form Electronic Music recorded over a three-year period on a variable-configuration Hybrid Digital-Analogue setup.
Each copy is individually numbered in the fine print of the two vellum tray-cards, includes a holographic label sticker on the rear of the 6-disc jewel case inside a resealable sleeve.
Since moving to Australia in late 2015, every year, on my birthday, I tend to realize an edition of some sort on Broken-Music's in-house label Industrial Abbotsford; last year was the run of 25 hand-cut copies of the "Halle (Salle)" LP, and this it's a six-disc set of "Automatic" synthesizer works entitled "Late Monoliths, 2011-2013."
The pieces on this set all use the same methodology; a particular combination of elements specific to the Hybrid Digital-Analogue setup I've been slowly refining over the past 15 years was dialed in, set in play, then captured over the course of roughly an hour, with little to no intervention. All of the sounds originate from within the system itself, and were subjected only to subtle augmentation in the mixing & mastering stages.
Of the scores of recordings made during this stretch, these six were chosen as they show a clear progression from rather ecclesiastic, melodic forms - the first three discs - into more challenging material. As a general guide, I recommend listening to one disc, once a week, during an hour that you put aside for listening. In the traditional of Indian Carnatic music, the first three discs are more "morning" appropriate, and can be heard at a moderate level - the last three are more "evening" and are best given a little more volume. In no way is there an emphasis on chronology, other than that the pieces are presented in the order they were recorded; feel free to mix & match, and in fact disregard pieces that you favor less.
If you see a pattern emerging here it's because you're familiar with Douglas Leedy's seminal "Entropical Paradise" set, on which this enterprise is loosely based; I have been scheming for decades to riff on this exact modus, this is the eventual result. I'm normally not one for dedications, but I feel compelled to invoke the memory of Richard Lainhart, who ushered words of kindness and encouragement on several occasions when I was absolutely ready to throw in the towel right around the time these were being laid to tape; that and the fact that his 1974 piece "White Night" was- and is a clear influence on how these pieces took shape. RIP Richard.