Browse by Artist: WHITMAN, KEITH FULLERTON

Artist:	WHITMAN, KEITH FULLERTON
Title:	Playthroughs
Label:	KRANKY
Format:	CD
Price:	$13.00
Catalog #:	KRANK 055CD

"The source material for every piece on Playthroughs is guitar: acoustic, electric or otherwise. From Sept. 2001 to April 2002 Keith Fullerton Whitman transformed those guitar pieces via laptop computer into the tracks on Playthroughs. Whitman has used ring modulators, granular shuffling algorithms, delays and spectral effects in a process that owes a lot to Terry Riley's Time Lag Accumulator and Steve Riech's 'Piano Phases.' Technology and Whitman's careful selection of notes combine to create shimmering drones and deep waves of sound. Though the source material was improvised guitar and the processing involved computer technology, Playthroughs reflects Whitman's mastery of composition."

Artist:	WHITMAN, KEITH FULLERTON
Title:	Multiples
Label:	KRANKY
Format:	CD
Price:	$13.00
Catalog #:	KRANK 081CD

"Multiples was recorded at the Harvard University studios, where a stash of vintage synthesizers and electronics was made available to Keith Fullerton Whitman during his time as a lecturer there. The eight tracks on Multiples flow through hit hat shimmer to skull-scraping electronic tones to interlocking clusters of repetition. This is Whitman's most inclusive and developed album yet. The limited edition Antithesis and Schöner Flußengel LPs released in 2004 showed the range of Whitman's interests, Multiples integrates them into a complete work."

Artist:	WHITMAN, KEITH FULLERTON
Title:	Lisbon
Label:	KRANKY
Format:	CD
Price:	$10.00
Catalog #:	KRANK 092CD

"Lisbon is a new CD EP by Keith Fullerton Whitman, a document of his live shows after an extensive performance schedule in 2005 in the wake of the acclaimed Multiples CD. As Whitman describes it: 'This recording, captured to hard disk on stage at Galeria Zé Dos Bois on October 4th 2005, is... a single lilting piece of static sine-tone harmonics, squared-off electric guitar haze, clangorous room-tone eruptions, and high-end synth freakouts....'"

Artist:	WHITMAN, KEITH FULLERTON
Title:	Dartmouth Street Underpass
Label:	LOCUST
Format:	CD
Price:	$14.00
Catalog #:	LOCUST 019CD

"With the release of Dartmouth Street Underpass, Keith Fullerton Whitman (AKA Hrvatski) inaugurates the first of 12 monthly installments in our new Location Sound Series, 'Met Life', in which we asked a number of musicians from all over the world to field record an event in a city of their choice and devise a response to it (both source recording and response comprise the two tracks on the CD). For his efforts, Whitman sat in on the acoustic world of the tunnel that connects Boston's back bay station to the Copley Plaza under Dartmouth street. The sounds are a combination of pumped in Muzak, children's voices bouncing off the glass walls, the sudden rush of commuters, and the glorious, rumbling low end buzz and rattle of the train ushering in and out of the station. Whitman electronically processed elements of the field recording and devised a brilliantly conceived thing of beauty that slowly and effortlessly unravels into an entrancing long form drone."

Artist:	WHITMAN, KEITH FULLERTON
Title:	Track4 (2waysuperimposed)
Label:	ROOM40 (AUSTRALIA)
Format:	CD
Price:	$15.00
Catalog #:	EDRM 408CD

"Over the past few years, Keith Fullerton Whitman has been responsible for producing some of the most engaging electronic music to emerge from the United States. Informed by traditional musique concrete as much as contemporary DSP, his work remains provocative without relying on overt actions or grandiose sonic statements. A bass heavy journey through processed guitar and electronics -- a refined statement of intent from one of the USA's finest. From Keith Whitman: 'Here's a 10:32 piece from 2002, re-worked, turned into a 21:04 piece in late 2005, released in spring of 2006 to correspond with my second Australian tour. Much like 'track3a (2waynice),' (the first piece on the Playthroughs album), this piece is entirely bi-directional, meaning that it plays the same forwards as backwards (just try to get your head around that...) by far the most woofer-rattling piece of music I've ever made.'"

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