|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DEMEGO 026LP
|
...Modular Synthesizer. "'Occlusion' is a loose framework for a multi-channel, freely-improvised piece of live electronic music, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. A given realization will last between 10 and 30 minutes; time is elastic. Every effort has been made to avoid divisible rhythms (although mistakes are occasionally made). Still, I consider it a 'kind' of dance music. These two realizations, recorded a week apart at festivals in France and The Netherlands during February 2012, capture the piece (much like those on the Generators LP) in two entirely different iterations, in states of (A) a mildly inebriated bliss & (B) an arbitrarily triggered blind rage. Both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. They sound fantastic. Occlusions is a companion piece to Generators in that they share the same tool-set; however, it is the free jazz yang to Generator's minimalist yin. It is not recommended to those seeking meter, melody, cleanliness, or a clearly-outlined organizational sense."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DEMEGO 024LP
|
Over the course of a year, Keith Fullerton Whitman performed a piece of live electronic music a few dozen times entitled "Generator." The debut was given in San Francisco at Root Strata's On Land festival at Cafe Du Nord on September 19th, 2009 -- over the months that followed, stagings took place in venues ranging from flooded basements to festival stages in Baltimore, Boston, Brooklyn, Chicago, Easthampton, Iowa City, Jamaica Plain, Northampton, Raleigh, Saint Louis, San Francisco, Somerville and Washington D.C. This LP covers the final two performances of the piece over two consecutive evenings; the opening solo set from the final night of the High Zero festival in Baltimore at the Theater Project, September 26th, 2010, then the performance during the "For Eliane" night of the Propensity Of Sound festival dedicated to Eliane Radigue's work at Issue Project Room, Brooklyn, September 27th, 2010. These recordings show the piece in two different iterations, taking two different trajectories entirely. They're considered the definitive versions of the piece. Composed for, and realized with a scalable selection of digital and analog modular synthesis equipment, "Generator" was an attempt to wrest a viable performance-based music out of what had until then been a solitary set of sound-design tools. The piece grew out of a frustration with the limitlessness of computer-based real-time synthesis and algorithmic/generative systems vs. their utter failure as performance solutions. It hinges heavily on the ideology of the "Playthroughs" system (in that the subtle tuning inconsistencies of a physical instrument -- the electric guitar -- could be amplified and multiplied) through the use of multiple layerings of different topologies of oscillator, yielding an unstable array of modal canons that drift in and out of "tune," causing all manner of inter-voice beating and assorted psycho-acoustic effects. Artwork by Graham Lambkin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
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.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
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 |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
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 |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
KRANK 071LP
|
2013 repress, originally released in 2004. "Consisting of material with a decidedly dark mood overall, the new album embodies Whitman's considerable musical scope. With tracks recorded using vocals, computer, clarinet, synthesizer, record player, microphone, bell and guitar the album traverses grittier and more complex territory than its predecessors. The six tracks veer from multi-fi drone to computer-guitar-piano trio."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
KRANK 064LP
|
2013 repress, originally released in 2004. "An LP-only release of material from Keith Fullerton Whitman's archives that doesn't fit aesthetically with his upcoming Multiples studio album. The theme for the album is 'ensemble works', that is a combination of instruments played by Whitman himself with no computer interaction. Each piece was recorded in one of the different apartments Whitman has rented since he lived in Boston."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
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."
|