Avant auteur Graham Lambkin’s 2016 parting shot for his now-defunct Kye returns on Penultimate Press - a typically perplexing yet strangely alluring invitation to rummage his half-cut, collaged rumination
Also featuring input by Takahiro Kawaguchi (small devices), Malcolm Goldstein (voice), Matthew Erickson (sax), Sean McCann (violin), Troy Schafer (violin), and Judith Hamann (cello); ‘Community’ speaks to Lambkin’s rich bonds with the contemporary, experimental improvising alter/underground, as he leads 40 minutes of sozzled dream-textured music or sound art (delete as applicable) that poetically captures the surreal quintessence of waking life and pottering with pals.
Recorded and assembled at Empty Stage Studios, Poughkeepsie, NY, ‘Community’ typically places the user at an absorbingly fly-on-wall perspective where we listen to Lambkin outlining thoughts on the subject of ‘Community’, before ‘For Your Boy King’ imitates the sound so fear-hair dying off, intercede with harmonica, phlegmy sputter and whisper, and he vacillates us in-and-out of the box in ‘Robin Frpg (Yuk Yo)’.
There’s a strangely tarnished chamber elegance to proceedings on ‘Spectrums’, weirded by its rising/falling sine waves, and ‘The Saver’ lures deepest into his lowkey mania like we’re in the company of claire reuse’s oddball uncle. It all shores up in ‘The Harmonia’ with Annea Lockwood or Oliverosian attention to extended technique details with his crudely finessed sound sensitivity, leaving with him like a slurred preacher in a pub corner drawling to nostalgia-inducing melody wheezed on violin. The digital edition also features a fractured 40 minute work ‘I Vs Air (Austin-Stuttgart-Turku)’ that really under the skin, up the nose.
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Avant auteur Graham Lambkin’s 2016 parting shot for his now-defunct Kye returns on Penultimate Press - a typically perplexing yet strangely alluring invitation to rummage his half-cut, collaged rumination
Also featuring input by Takahiro Kawaguchi (small devices), Malcolm Goldstein (voice), Matthew Erickson (sax), Sean McCann (violin), Troy Schafer (violin), and Judith Hamann (cello); ‘Community’ speaks to Lambkin’s rich bonds with the contemporary, experimental improvising alter/underground, as he leads 40 minutes of sozzled dream-textured music or sound art (delete as applicable) that poetically captures the surreal quintessence of waking life and pottering with pals.
Recorded and assembled at Empty Stage Studios, Poughkeepsie, NY, ‘Community’ typically places the user at an absorbingly fly-on-wall perspective where we listen to Lambkin outlining thoughts on the subject of ‘Community’, before ‘For Your Boy King’ imitates the sound so fear-hair dying off, intercede with harmonica, phlegmy sputter and whisper, and he vacillates us in-and-out of the box in ‘Robin Frpg (Yuk Yo)’.
There’s a strangely tarnished chamber elegance to proceedings on ‘Spectrums’, weirded by its rising/falling sine waves, and ‘The Saver’ lures deepest into his lowkey mania like we’re in the company of claire reuse’s oddball uncle. It all shores up in ‘The Harmonia’ with Annea Lockwood or Oliverosian attention to extended technique details with his crudely finessed sound sensitivity, leaving with him like a slurred preacher in a pub corner drawling to nostalgia-inducing melody wheezed on violin. The digital edition also features a fractured 40 minute work ‘I Vs Air (Austin-Stuttgart-Turku)’ that really under the skin, up the nose.
Avant auteur Graham Lambkin’s 2016 parting shot for his now-defunct Kye returns on Penultimate Press - a typically perplexing yet strangely alluring invitation to rummage his half-cut, collaged rumination
Also featuring input by Takahiro Kawaguchi (small devices), Malcolm Goldstein (voice), Matthew Erickson (sax), Sean McCann (violin), Troy Schafer (violin), and Judith Hamann (cello); ‘Community’ speaks to Lambkin’s rich bonds with the contemporary, experimental improvising alter/underground, as he leads 40 minutes of sozzled dream-textured music or sound art (delete as applicable) that poetically captures the surreal quintessence of waking life and pottering with pals.
Recorded and assembled at Empty Stage Studios, Poughkeepsie, NY, ‘Community’ typically places the user at an absorbingly fly-on-wall perspective where we listen to Lambkin outlining thoughts on the subject of ‘Community’, before ‘For Your Boy King’ imitates the sound so fear-hair dying off, intercede with harmonica, phlegmy sputter and whisper, and he vacillates us in-and-out of the box in ‘Robin Frpg (Yuk Yo)’.
There’s a strangely tarnished chamber elegance to proceedings on ‘Spectrums’, weirded by its rising/falling sine waves, and ‘The Saver’ lures deepest into his lowkey mania like we’re in the company of claire reuse’s oddball uncle. It all shores up in ‘The Harmonia’ with Annea Lockwood or Oliverosian attention to extended technique details with his crudely finessed sound sensitivity, leaving with him like a slurred preacher in a pub corner drawling to nostalgia-inducing melody wheezed on violin. The digital edition also features a fractured 40 minute work ‘I Vs Air (Austin-Stuttgart-Turku)’ that really under the skin, up the nose.
Avant auteur Graham Lambkin’s 2016 parting shot for his now-defunct Kye returns on Penultimate Press - a typically perplexing yet strangely alluring invitation to rummage his half-cut, collaged rumination
Also featuring input by Takahiro Kawaguchi (small devices), Malcolm Goldstein (voice), Matthew Erickson (sax), Sean McCann (violin), Troy Schafer (violin), and Judith Hamann (cello); ‘Community’ speaks to Lambkin’s rich bonds with the contemporary, experimental improvising alter/underground, as he leads 40 minutes of sozzled dream-textured music or sound art (delete as applicable) that poetically captures the surreal quintessence of waking life and pottering with pals.
Recorded and assembled at Empty Stage Studios, Poughkeepsie, NY, ‘Community’ typically places the user at an absorbingly fly-on-wall perspective where we listen to Lambkin outlining thoughts on the subject of ‘Community’, before ‘For Your Boy King’ imitates the sound so fear-hair dying off, intercede with harmonica, phlegmy sputter and whisper, and he vacillates us in-and-out of the box in ‘Robin Frpg (Yuk Yo)’.
There’s a strangely tarnished chamber elegance to proceedings on ‘Spectrums’, weirded by its rising/falling sine waves, and ‘The Saver’ lures deepest into his lowkey mania like we’re in the company of claire reuse’s oddball uncle. It all shores up in ‘The Harmonia’ with Annea Lockwood or Oliverosian attention to extended technique details with his crudely finessed sound sensitivity, leaving with him like a slurred preacher in a pub corner drawling to nostalgia-inducing melody wheezed on violin. The digital edition also features a fractured 40 minute work ‘I Vs Air (Austin-Stuttgart-Turku)’ that really under the skin, up the nose.