|
|
|
|
|
|
|
|
|
|
|
|
|
Cassette
|
|
TTW 137CS
|
"I acquired my first shortwave radio back in 1998 or 1999. Living in San Francisco at that time, I found a wealth of signals being broadcast from across the Pacific towards the US. This was before cellphones became ubiquitous, so the radio spectrum was relatively free of interference, even living in a city. I quickly found that when I got out of any urban environment, I could receive more signals and with better clarity. So with every opportunity for travel, I took a shortwave. By 2000, I had upgraded by then to a smaller Grundig portable with a wind-up antenna and a MiniDisc recorder in tow. I held out acquiring a flash-drive digital recorded until the summer of 2012, with the technology of the MiniDisc already obsolete by then. This collection represents some of the more interesting finds from that collection of MiniDisc recordings." --Jim Haynes, Northern California, August 19, 2020 Artwork: Venoztks. Cassette only in an edition of 100.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
EMEGO 171LP
|
The recordings for The Wires Cracked were completed in a frenzied two week period in October of 2012. I had mentioned in discussing a previous album's construction that I prefer to forget how I build any particular electro-acoustic amalgam. This is so that I don't get to precious with them, so that I could refine them further, so that the sounds themselves speak beyond their aggregate parts. With the album being relatively fresh in my mind, I can still recall various components to "The Wires Cracked" -- the desolate howl of a metal screen activated by a desert wind, the hissing air compression from the cooling apparatus for a laser at the SLAC National Accelerator Laboratory operated by Stanford University, and the tremolo rhythms from a thin wire that still get me thinking fondly of Günter Schickert -- but much of the caustic drone, thrumming reverberation, and tactile grit thoroughly escapes me. That's probably for the best, since these various parts speak to an existential rupturing, the collapse of the self, the aftershocks of dark energy, and a belief in the hope for renewal. Describing his work through the pithy phrase "I rust things," Jim Haynes is an artist who has developed a vocabulary of decay that he has applied to photography, video, installation, and sound. Haynes' sound work draws from shortwave radio static, electric field disturbances, controlled feedback manipulation, and numerous textural scrapings, manifesting broken minimalism of magnetic drones and volatile tactility. This engineering of disparate materials and media seeks to evince the unpredictability of decay, to manifest its potential for a rough hewn beauty, and to bare witness to its inevitability. He has exhibited internationally at Electric Works (San Francisco), the San Francisco Museum of Modern Art , the Bekerley Art Museum, The Exploratorium (SanFrancisco), WestSpace (Melbourne, Australia), Jack Straw Productions (Seattle), Eyedrum (Atlanta), Diapason (New York), and The Lab (San Francisco). Haynes has published his work through the Helen Scarsdale Agency, 23five Incorporated, Intransitive, Observatoire, and ElevatorBath. He has collaborated with Steven Stapleton (Nurse With Wound), M.S. Waldron (irr. app.(ext.)), Keith Evans, Allison Holt, and Loren Chasse. Haynes is one of the directors for 23five Incorporated and is the sole occupant at the Helen Scarsdale Agency.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HMS 021LP
|
"Parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. Where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. As such, this ontological disappearing act stands in allegorical parallel to the entropic art of Jim Haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound. This San Francisco Bay Area artist has long defined his work through the pithy phrase: 'I rust things.' The Decline Effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. Haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. Here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and/or digital patch authored by Christian Fennesz. Haynes' broken minimalism orbits somewhere near the work Joe Colley, G*Park, Nurse With Wound, and BJ Nilsen. The 2LP of The Decline Effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve, and sports the necessary download coupon. Zener cards not included."
|
|
|
|