Ellen Arkbro
CHORDS
Boomkat Product Review:
Avant-garde composer and student of La Monte Young, Marian Zazeela and Jung Hee Choi, Ellen Arkbro renders sustained and harmonically opaque chords on her stunning second solo album for Subtext. More minimal and extended than her 2017 debut ‘For Organ and Brass’, 'Chords’ is a focussed study in a gradual manipulation of acoustic timbres, using subtle synthesis of organ and guitar through two extended pieces bound to generate uncanny sensations to anyone familiar with the conventional tone of her chosen instruments.
Although underpinned by mathematical rigour, Arkbro draws direct connections to sacred music through a strict method of reduction, stripping away elements in a process she likens to a sculptor chipping away at stone. What’s left is primed for a kind of mind-altering osmosis, where the listener gradually fills in the gaps, or as she tells the most recent issue of The Wire “…what you pay attention to will change what you hear”.
Influenced by her teachers and the spirit of New York’s 1960’s Downtown scene, Arkbro is meticulous in her process and use of unusual tunings to reveal strange, sustained sounds that seem to continuously change shape. This pursuit of a kind of sonic “emptiness” belies the often unearthly spatial dimensions she manages to conjur, making highly perception-based sounds that have an almost supernatural quality.
The results sit somewhere between sacred and industrial music, a listening experience with highly meditative, spiritual, sometimes disturbing qualities - quite a remarkable achievement.
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Boomkat Product Review:
Avant-garde composer and student of La Monte Young, Marian Zazeela and Jung Hee Choi, Ellen Arkbro renders sustained and harmonically opaque chords on her stunning second solo album for Subtext. More minimal and extended than her 2017 debut ‘For Organ and Brass’, 'Chords’ is a focussed study in a gradual manipulation of acoustic timbres, using subtle synthesis of organ and guitar through two extended pieces bound to generate uncanny sensations to anyone familiar with the conventional tone of her chosen instruments.
Although underpinned by mathematical rigour, Arkbro draws direct connections to sacred music through a strict method of reduction, stripping away elements in a process she likens to a sculptor chipping away at stone. What’s left is primed for a kind of mind-altering osmosis, where the listener gradually fills in the gaps, or as she tells the most recent issue of The Wire “…what you pay attention to will change what you hear”.
Influenced by her teachers and the spirit of New York’s 1960’s Downtown scene, Arkbro is meticulous in her process and use of unusual tunings to reveal strange, sustained sounds that seem to continuously change shape. This pursuit of a kind of sonic “emptiness” belies the often unearthly spatial dimensions she manages to conjur, making highly perception-based sounds that have an almost supernatural quality.
The results sit somewhere between sacred and industrial music, a listening experience with highly meditative, spiritual, sometimes disturbing qualities - quite a remarkable achievement.
Boomkat Product Review:
Avant-garde composer and student of La Monte Young, Marian Zazeela and Jung Hee Choi, Ellen Arkbro renders sustained and harmonically opaque chords on her stunning second solo album for Subtext. More minimal and extended than her 2017 debut ‘For Organ and Brass’, 'Chords’ is a focussed study in a gradual manipulation of acoustic timbres, using subtle synthesis of organ and guitar through two extended pieces bound to generate uncanny sensations to anyone familiar with the conventional tone of her chosen instruments.
Although underpinned by mathematical rigour, Arkbro draws direct connections to sacred music through a strict method of reduction, stripping away elements in a process she likens to a sculptor chipping away at stone. What’s left is primed for a kind of mind-altering osmosis, where the listener gradually fills in the gaps, or as she tells the most recent issue of The Wire “…what you pay attention to will change what you hear”.
Influenced by her teachers and the spirit of New York’s 1960’s Downtown scene, Arkbro is meticulous in her process and use of unusual tunings to reveal strange, sustained sounds that seem to continuously change shape. This pursuit of a kind of sonic “emptiness” belies the often unearthly spatial dimensions she manages to conjur, making highly perception-based sounds that have an almost supernatural quality.
The results sit somewhere between sacred and industrial music, a listening experience with highly meditative, spiritual, sometimes disturbing qualities - quite a remarkable achievement.
Boomkat Product Review:
Avant-garde composer and student of La Monte Young, Marian Zazeela and Jung Hee Choi, Ellen Arkbro renders sustained and harmonically opaque chords on her stunning second solo album for Subtext. More minimal and extended than her 2017 debut ‘For Organ and Brass’, 'Chords’ is a focussed study in a gradual manipulation of acoustic timbres, using subtle synthesis of organ and guitar through two extended pieces bound to generate uncanny sensations to anyone familiar with the conventional tone of her chosen instruments.
Although underpinned by mathematical rigour, Arkbro draws direct connections to sacred music through a strict method of reduction, stripping away elements in a process she likens to a sculptor chipping away at stone. What’s left is primed for a kind of mind-altering osmosis, where the listener gradually fills in the gaps, or as she tells the most recent issue of The Wire “…what you pay attention to will change what you hear”.
Influenced by her teachers and the spirit of New York’s 1960’s Downtown scene, Arkbro is meticulous in her process and use of unusual tunings to reveal strange, sustained sounds that seem to continuously change shape. This pursuit of a kind of sonic “emptiness” belies the often unearthly spatial dimensions she manages to conjur, making highly perception-based sounds that have an almost supernatural quality.
The results sit somewhere between sacred and industrial music, a listening experience with highly meditative, spiritual, sometimes disturbing qualities - quite a remarkable achievement.
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Boomkat Product Review:
Avant-garde composer and student of La Monte Young, Marian Zazeela and Jung Hee Choi, Ellen Arkbro renders sustained and harmonically opaque chords on her stunning second solo album for Subtext. More minimal and extended than her 2017 debut ‘For Organ and Brass’, 'Chords’ is a focussed study in a gradual manipulation of acoustic timbres, using subtle synthesis of organ and guitar through two extended pieces bound to generate uncanny sensations to anyone familiar with the conventional tone of her chosen instruments.
Although underpinned by mathematical rigour, Arkbro draws direct connections to sacred music through a strict method of reduction, stripping away elements in a process she likens to a sculptor chipping away at stone. What’s left is primed for a kind of mind-altering osmosis, where the listener gradually fills in the gaps, or as she tells the most recent issue of The Wire “…what you pay attention to will change what you hear”.
Influenced by her teachers and the spirit of New York’s 1960’s Downtown scene, Arkbro is meticulous in her process and use of unusual tunings to reveal strange, sustained sounds that seem to continuously change shape. This pursuit of a kind of sonic “emptiness” belies the often unearthly spatial dimensions she manages to conjur, making highly perception-based sounds that have an almost supernatural quality.
The results sit somewhere between sacred and industrial music, a listening experience with highly meditative, spiritual, sometimes disturbing qualities - quite a remarkable achievement.
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