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LP
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IPRDO 003LP
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Known for his uncompromising tape and synthesizer work, Pete Swanson has pushed the limits of electronic music since the early 2000s. Since stepping down as half of formative underground duo Yellow Swans, he has subverted the genres of noise and electronic dance music as a solo artist. For Eliminated Artist, the third LP release from ISSUE Project Room's Distributed Objects imprint, Swanson ventures into new territories with two works at the intersection of electronic and acoustic sound, created in collaboration with New York instrumental quartet Yarn/Wire. Combining electronics, tape loops, and modular synthesizer with Yarn/Wire's unique ensemble of two pianists and two percussionists, both works were recorded live at ISSUE Project Room, initiated as part of the ensemble's 2011 residency at the Brooklyn venue and presenting organization. For the title-track, "Eliminated Artist" (2012), Swanson recorded improvised rehearsals by Yarn/Wire, from which he crafted an exacting, repeatable framework for live performance. A combination of live signal and rehearsal recordings were then constructed by Swanson into a live electronic mix, ranging from tranquil chromatic textures to unhinged distortion. "Corrections" (2014) emerged from a series of recorded fragments Swanson made using "the Putney," an early EMS VCS3 modular synthesizer, at Rotterdam's WORM studios in 2013. Over two days of rehearsal, Yarn/Wire and Swanson developed acoustic arrangements to integrate with the earlier recordings. Clattering, intricate rhythms combine with soaring synthesizer-pitches and heavy, percussive beats; the result is atmospheric, physical, and precise. Yarn/Wire: Ning Yu, Laura Barger: piano; Russell Greenberg, Ian Antonio: percussion. Pete Swanson: EMS VCS3, electronics, and tape. "Corrections" recorded live at ISSUE Project Room on May 1, 2014; EMS VCS3 for Corrections recorded at WORM Studios, Rotterdam, December 2013. "Eliminated Artist" recorded live at ISSUE Project Room March 22, 2012. Mastered by Rashad Becker. Limited edition of 500 on 150-gram vinyl.
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2LP
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IPRDO 002LP
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Sabisha Friedberg's double LP The Hant Variance was recorded at EMPAC (Experimental Media and Performing Arts Center, Troy, NY) with Peter Edwards in a custom-tuned environment using advanced multi-channel recording techniques to capture a configuration of spatialized sound sources. The piece combines granular synthesis, analog synthesizers, tone oscillators, and field recordings. The low-end bass, which was recorded live with a subwoofer configuration that allowed for rapid directional shifts, serves as a sonic armature for the piece. Sustained pure tones shift minimally and the allocation of sound engenders a sense of aural disorientation. This landscape, with the premise of summoning a new phantom or haunted sonic space, exists in an interstitial, albeit present zone. Born in Johannesburg, South Africa, Friedberg's composition, performance, and installation work draws on the phenomenological and phantasmagorical, exploring perceptual delineation of space through sound, and low-end experiential thresholds. She has performed and presented installations widely in Western and Eastern Europe, Russia, Japan, and the US, and received commissions through residencies at ISSUE Project Room, EMPAC, and The Clocktower Gallery. In 2013 she presented the solo exhibition "Levitation" at Audio Visual Arts. Friedberg received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. Peter Edwards is an American artist and musician living in Holland, best known for his DIY experimental electronics website casperelectronics. His work has been presented internationally at venues including The MIT Media Lab, Transmediale, Dutch Electronic Arts Festival, New York Electronic Arts Festival, and Performa, among others. Sabisha Friedberg: oscillators; Peter Edwards: oscillators. Arrangements and mix: Sabisha Friedberg. Balance and edits: Todd Voss. Mastering: Rashad Becker.
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2LP
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IPRDO 001LP
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Sergei Tcherepnin's Quasar ⇔ Lanterns was originally produced in 2009 as an eight-channel installation with Ei Arakawa at Künstlerhaus Stuttgart, and was remixed to stereo by Tcherepnin for this release. Tcherepnin is a Brooklyn-based artist and musician. His work constructs temporary architectural interventions that push phenomena of the sonorous toward the haptic through performance, composition, and installation, exploring the materiality of sound and its physical and psychological effects on the listener. He has performed and presented installations at the 2014 Whitney Biennial, the 30th Sao Paulo Biennial, Guggenheim Museum, Audio Visual Arts, Murray Guy, and ISSUE Project Room. The three pieces that make up Quasar ⇔ Lanterns combine analog synthesizer recordings and other instrumental sources with field recordings captured during the artists' travels to Turkey and Georgia. Each piece introduces a separate facet of Tcherepnin's compositional practice, respectively probing the boundaries between perception/hallucination, active/passive listening, and form/fiction. In the first piece, titled "Death (Quasar)," recordings of an acoustic bass played by Adam Linson function as "sound meteors," creating fissures and tears as they rip through a stable yet shifting aural field. "Sky" follows with a series of clear and high ear tones, unfolding as a succession of subtle sonic events. The final piece, "Horse," explores the rhythmic and textural qualities of recorded horse hooves moving across stone, assembling the sounds into a sonic fiction in which horses and their riders leave the earth via flying carpets (objects referenced in the original installation). Mastered by Rashad Becker.
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