Ground: Five Mechanic Convention Streams
JERRY HUNT
Ground: Five Mechanic Convention Streams
Boomkat Product Review:
Originally released in 1992, the final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a foundational audio document of Hunt’s compositional process. RIYL John Zorn, John Cage, Stockhausen.
It doesn't take long for 'Ground' to acclimatize you to Hunt's deeply personal artistic realm. Just listen to the first few minutes of 'Chimanzzi (Olun): Core', and allow your brain to re-tune itself, guided by Hunt's rattled arhythmic bursts and dissonant, guttural drones. The Texan composer was notorious in his day for using DIY electro-mechanical instruments and computer-aided musical devices that he employed to help realize his occult-guided art. He rarely used traditional instruments, and when he did they were often contorted to sound almost completely unrecognizable. It was only the piano that captured his imagination, but he even developed ways to perform on that instrument to confound expectations.
The album compiles five pieces from Hunt's 'Ground' series of compositions, and is described as "recorded fixtures of activity using mechanical musical instrument arrays." Listening now, it's hard to differentiate between instruments that are played and those controlled by Hunt's devices. In the present day, we have our own culturally-informed expectation of computer controlled music, but when Hunt was composing this material, the game was completely different. There's a collapsibility to a track like 'Transform (Stream): Monopole', where bells, shakers and whistles create a soundscape that sounds faintly digital, while retaining a hair-raising ritualistic charm.
Hunt was inspired by the Tudor-era British astronomer, philosopher and occultist John Dee. Dee developed a system of Enochian magic - supposedly delivered to Dee and his alchemist friend Edward Kelley by angels - that was intended to evoke spirits using a holy table engraved with a Hexagram. Hunt adapted these frameworks to inform his compositions, using sensors and "interrelated electronic, mechanic, and social sound-sight interactive transactional systems" to give a reactive unpredictability to music that otherwise might have been too buttoned-up to reflect its philosophy. It's most vividly audible on 'Talk (Slice): Double', an anxious back-and-forth between Hunt and composer Rod Stasick, that sets both voices against a backdrop of chattering percussion and enchanting bells.
Searching for comparisons to Hunt is difficult - his isolation in Texas and bizarre interests made his music stand out from his peers, and his sounds are still defiant. But needless to say, if you're fascinated by the outer reaches of John Zorn's Tzadik imprint (where some of Hunt's best-known work was released) or Stockhausen's more esoteric work, then "Ground" is gonna be like a cold glass of holy water on the devil's hottest day.
View more
Boomkat Product Review:
Originally released in 1992, the final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a foundational audio document of Hunt’s compositional process. RIYL John Zorn, John Cage, Stockhausen.
It doesn't take long for 'Ground' to acclimatize you to Hunt's deeply personal artistic realm. Just listen to the first few minutes of 'Chimanzzi (Olun): Core', and allow your brain to re-tune itself, guided by Hunt's rattled arhythmic bursts and dissonant, guttural drones. The Texan composer was notorious in his day for using DIY electro-mechanical instruments and computer-aided musical devices that he employed to help realize his occult-guided art. He rarely used traditional instruments, and when he did they were often contorted to sound almost completely unrecognizable. It was only the piano that captured his imagination, but he even developed ways to perform on that instrument to confound expectations.
The album compiles five pieces from Hunt's 'Ground' series of compositions, and is described as "recorded fixtures of activity using mechanical musical instrument arrays." Listening now, it's hard to differentiate between instruments that are played and those controlled by Hunt's devices. In the present day, we have our own culturally-informed expectation of computer controlled music, but when Hunt was composing this material, the game was completely different. There's a collapsibility to a track like 'Transform (Stream): Monopole', where bells, shakers and whistles create a soundscape that sounds faintly digital, while retaining a hair-raising ritualistic charm.
Hunt was inspired by the Tudor-era British astronomer, philosopher and occultist John Dee. Dee developed a system of Enochian magic - supposedly delivered to Dee and his alchemist friend Edward Kelley by angels - that was intended to evoke spirits using a holy table engraved with a Hexagram. Hunt adapted these frameworks to inform his compositions, using sensors and "interrelated electronic, mechanic, and social sound-sight interactive transactional systems" to give a reactive unpredictability to music that otherwise might have been too buttoned-up to reflect its philosophy. It's most vividly audible on 'Talk (Slice): Double', an anxious back-and-forth between Hunt and composer Rod Stasick, that sets both voices against a backdrop of chattering percussion and enchanting bells.
Searching for comparisons to Hunt is difficult - his isolation in Texas and bizarre interests made his music stand out from his peers, and his sounds are still defiant. But needless to say, if you're fascinated by the outer reaches of John Zorn's Tzadik imprint (where some of Hunt's best-known work was released) or Stockhausen's more esoteric work, then "Ground" is gonna be like a cold glass of holy water on the devil's hottest day.
Boomkat Product Review:
Originally released in 1992, the final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a foundational audio document of Hunt’s compositional process. RIYL John Zorn, John Cage, Stockhausen.
It doesn't take long for 'Ground' to acclimatize you to Hunt's deeply personal artistic realm. Just listen to the first few minutes of 'Chimanzzi (Olun): Core', and allow your brain to re-tune itself, guided by Hunt's rattled arhythmic bursts and dissonant, guttural drones. The Texan composer was notorious in his day for using DIY electro-mechanical instruments and computer-aided musical devices that he employed to help realize his occult-guided art. He rarely used traditional instruments, and when he did they were often contorted to sound almost completely unrecognizable. It was only the piano that captured his imagination, but he even developed ways to perform on that instrument to confound expectations.
The album compiles five pieces from Hunt's 'Ground' series of compositions, and is described as "recorded fixtures of activity using mechanical musical instrument arrays." Listening now, it's hard to differentiate between instruments that are played and those controlled by Hunt's devices. In the present day, we have our own culturally-informed expectation of computer controlled music, but when Hunt was composing this material, the game was completely different. There's a collapsibility to a track like 'Transform (Stream): Monopole', where bells, shakers and whistles create a soundscape that sounds faintly digital, while retaining a hair-raising ritualistic charm.
Hunt was inspired by the Tudor-era British astronomer, philosopher and occultist John Dee. Dee developed a system of Enochian magic - supposedly delivered to Dee and his alchemist friend Edward Kelley by angels - that was intended to evoke spirits using a holy table engraved with a Hexagram. Hunt adapted these frameworks to inform his compositions, using sensors and "interrelated electronic, mechanic, and social sound-sight interactive transactional systems" to give a reactive unpredictability to music that otherwise might have been too buttoned-up to reflect its philosophy. It's most vividly audible on 'Talk (Slice): Double', an anxious back-and-forth between Hunt and composer Rod Stasick, that sets both voices against a backdrop of chattering percussion and enchanting bells.
Searching for comparisons to Hunt is difficult - his isolation in Texas and bizarre interests made his music stand out from his peers, and his sounds are still defiant. But needless to say, if you're fascinated by the outer reaches of John Zorn's Tzadik imprint (where some of Hunt's best-known work was released) or Stockhausen's more esoteric work, then "Ground" is gonna be like a cold glass of holy water on the devil's hottest day.
Boomkat Product Review:
Originally released in 1992, the final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a foundational audio document of Hunt’s compositional process. RIYL John Zorn, John Cage, Stockhausen.
It doesn't take long for 'Ground' to acclimatize you to Hunt's deeply personal artistic realm. Just listen to the first few minutes of 'Chimanzzi (Olun): Core', and allow your brain to re-tune itself, guided by Hunt's rattled arhythmic bursts and dissonant, guttural drones. The Texan composer was notorious in his day for using DIY electro-mechanical instruments and computer-aided musical devices that he employed to help realize his occult-guided art. He rarely used traditional instruments, and when he did they were often contorted to sound almost completely unrecognizable. It was only the piano that captured his imagination, but he even developed ways to perform on that instrument to confound expectations.
The album compiles five pieces from Hunt's 'Ground' series of compositions, and is described as "recorded fixtures of activity using mechanical musical instrument arrays." Listening now, it's hard to differentiate between instruments that are played and those controlled by Hunt's devices. In the present day, we have our own culturally-informed expectation of computer controlled music, but when Hunt was composing this material, the game was completely different. There's a collapsibility to a track like 'Transform (Stream): Monopole', where bells, shakers and whistles create a soundscape that sounds faintly digital, while retaining a hair-raising ritualistic charm.
Hunt was inspired by the Tudor-era British astronomer, philosopher and occultist John Dee. Dee developed a system of Enochian magic - supposedly delivered to Dee and his alchemist friend Edward Kelley by angels - that was intended to evoke spirits using a holy table engraved with a Hexagram. Hunt adapted these frameworks to inform his compositions, using sensors and "interrelated electronic, mechanic, and social sound-sight interactive transactional systems" to give a reactive unpredictability to music that otherwise might have been too buttoned-up to reflect its philosophy. It's most vividly audible on 'Talk (Slice): Double', an anxious back-and-forth between Hunt and composer Rod Stasick, that sets both voices against a backdrop of chattering percussion and enchanting bells.
Searching for comparisons to Hunt is difficult - his isolation in Texas and bizarre interests made his music stand out from his peers, and his sounds are still defiant. But needless to say, if you're fascinated by the outer reaches of John Zorn's Tzadik imprint (where some of Hunt's best-known work was released) or Stockhausen's more esoteric work, then "Ground" is gonna be like a cold glass of holy water on the devil's hottest day.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Originally released in 1992, the final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a foundational audio document of Hunt’s compositional process. RIYL John Zorn, John Cage, Stockhausen.
It doesn't take long for 'Ground' to acclimatize you to Hunt's deeply personal artistic realm. Just listen to the first few minutes of 'Chimanzzi (Olun): Core', and allow your brain to re-tune itself, guided by Hunt's rattled arhythmic bursts and dissonant, guttural drones. The Texan composer was notorious in his day for using DIY electro-mechanical instruments and computer-aided musical devices that he employed to help realize his occult-guided art. He rarely used traditional instruments, and when he did they were often contorted to sound almost completely unrecognizable. It was only the piano that captured his imagination, but he even developed ways to perform on that instrument to confound expectations.
The album compiles five pieces from Hunt's 'Ground' series of compositions, and is described as "recorded fixtures of activity using mechanical musical instrument arrays." Listening now, it's hard to differentiate between instruments that are played and those controlled by Hunt's devices. In the present day, we have our own culturally-informed expectation of computer controlled music, but when Hunt was composing this material, the game was completely different. There's a collapsibility to a track like 'Transform (Stream): Monopole', where bells, shakers and whistles create a soundscape that sounds faintly digital, while retaining a hair-raising ritualistic charm.
Hunt was inspired by the Tudor-era British astronomer, philosopher and occultist John Dee. Dee developed a system of Enochian magic - supposedly delivered to Dee and his alchemist friend Edward Kelley by angels - that was intended to evoke spirits using a holy table engraved with a Hexagram. Hunt adapted these frameworks to inform his compositions, using sensors and "interrelated electronic, mechanic, and social sound-sight interactive transactional systems" to give a reactive unpredictability to music that otherwise might have been too buttoned-up to reflect its philosophy. It's most vividly audible on 'Talk (Slice): Double', an anxious back-and-forth between Hunt and composer Rod Stasick, that sets both voices against a backdrop of chattering percussion and enchanting bells.
Searching for comparisons to Hunt is difficult - his isolation in Texas and bizarre interests made his music stand out from his peers, and his sounds are still defiant. But needless to say, if you're fascinated by the outer reaches of John Zorn's Tzadik imprint (where some of Hunt's best-known work was released) or Stockhausen's more esoteric work, then "Ground" is gonna be like a cold glass of holy water on the devil's hottest day.
More from Blank Forms Editions:
-
hecker Resynthese FAVN Blank Forms Editions Extreme / Noise / Computer Music- Deluxe Box Set (Heavyweight)
-
Gray/Smith GRAY/SMITH Blank Forms Editions Indie / Alternative
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLCATHERINE CHRISTER HENNIX Further Selections from The Electric Harpsichord Blank Forms Editions Dark Ambient / Drone / Metal
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- CD
-
FREE MP3 WITH VINYL7038634357 Neo Seven Blank Forms Editions Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLCATHERINE CHRISTER HENNIX Solo for Tamburium Blank Forms Editions Dark Ambient / Drone / Metal
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
- CD
People who bought this also bought:
-
FREE MP3 WITH VINYLBlackhaine And Salford Falls Apart HEAD II Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLFUJI||||||||||TA NOISEEM 33 33 Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
IANNIS XENAKIS Electroacoustic Works Karlrecords Electronic
- 5CD BOX
-
FREE MP3 WITH VINYLOrgan Tapes 唱着那无人问津的歌谣 / Chang Zhe Na Wu Ren Wen Jin De Ge Yao Worldwide Unlimited Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLSafa IBTIHALAT UIQ Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLVarious Artists Promesses Vol 2 Promesses Electronic
- MP3
- FLAC
- WAV
- Cassette
-
FREE MP3 WITH VINYLBen Bondy Ben Bondy Quiet Time Tapes Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLThe Ephemeron Loop Psychonautic Escapism Heat Crimes Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLTIBSLC Hypertranslucent sferic Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Colour LP
-
FREE MP3 WITH VINYLMOBBS Untitled Chrome Electronic
- MP3
- FLAC
- WAV