Hints Of Things To Come
Outstanding formative works by inimitable polymath Harry Bertoia, getting familiar with his metal rod sculpture-cum-instrument at an early curve of his peerless oeuvre in 1970 at the Sonambient barn
Plucked from his vast archive of recordings, the newly unveiled works on ‘Hints Of Things To Come’ hold among Bertoia’s most unique and melodic discoveries. Ever since first encountering his work in the ’Sonambient (Complete Collection)’ survey of his private press label, admirably collected and issued by Important in 2016, Bertoia’s mastery of abstract, resonant sound has had us utterly rapt for the best part of a decade now. While we’re familiar with the series’ range of cavernous live recordings, often made without overdubs in his workshop barn in Pennsylvania, we’ve never heard his touch applied quite so sensitively and yet intensely as on these works.
With remarkable patience and finely attuned to the instrument and the acoustics of the space, Bertoia’s haptics generate slow, purposeful climaxes of shivering metallic tone and shimmering reverberation in the first three works, including a utterly immersive 30 minute title piece, before arriving at an historic standout in his catalogue with ‘7 ½ & 7 ½ Combined’, rendering one of his earliest example of overdubbing a playback of previous recording with a live-performance. If you’re also familiar with and favour Bertoia’s work, we can practically assure you that it’s vital listening and nothing less than a seminal, if previously unheard, part of his singular gift to experimental music.
Call it ambient, drone, sculptural sound art, or whatever the fuck you like; this is just amazing music to get lost inside, dialling up the rarest atavistic sensations certain to leave one reeling in imaginary space. Massive RIYL anything from Roland Kayn to Jim O’Rourke’s Old News works or Pauline Oliveros Deep Listening trips.
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Outstanding formative works by inimitable polymath Harry Bertoia, getting familiar with his metal rod sculpture-cum-instrument at an early curve of his peerless oeuvre in 1970 at the Sonambient barn
Plucked from his vast archive of recordings, the newly unveiled works on ‘Hints Of Things To Come’ hold among Bertoia’s most unique and melodic discoveries. Ever since first encountering his work in the ’Sonambient (Complete Collection)’ survey of his private press label, admirably collected and issued by Important in 2016, Bertoia’s mastery of abstract, resonant sound has had us utterly rapt for the best part of a decade now. While we’re familiar with the series’ range of cavernous live recordings, often made without overdubs in his workshop barn in Pennsylvania, we’ve never heard his touch applied quite so sensitively and yet intensely as on these works.
With remarkable patience and finely attuned to the instrument and the acoustics of the space, Bertoia’s haptics generate slow, purposeful climaxes of shivering metallic tone and shimmering reverberation in the first three works, including a utterly immersive 30 minute title piece, before arriving at an historic standout in his catalogue with ‘7 ½ & 7 ½ Combined’, rendering one of his earliest example of overdubbing a playback of previous recording with a live-performance. If you’re also familiar with and favour Bertoia’s work, we can practically assure you that it’s vital listening and nothing less than a seminal, if previously unheard, part of his singular gift to experimental music.
Call it ambient, drone, sculptural sound art, or whatever the fuck you like; this is just amazing music to get lost inside, dialling up the rarest atavistic sensations certain to leave one reeling in imaginary space. Massive RIYL anything from Roland Kayn to Jim O’Rourke’s Old News works or Pauline Oliveros Deep Listening trips.
Outstanding formative works by inimitable polymath Harry Bertoia, getting familiar with his metal rod sculpture-cum-instrument at an early curve of his peerless oeuvre in 1970 at the Sonambient barn
Plucked from his vast archive of recordings, the newly unveiled works on ‘Hints Of Things To Come’ hold among Bertoia’s most unique and melodic discoveries. Ever since first encountering his work in the ’Sonambient (Complete Collection)’ survey of his private press label, admirably collected and issued by Important in 2016, Bertoia’s mastery of abstract, resonant sound has had us utterly rapt for the best part of a decade now. While we’re familiar with the series’ range of cavernous live recordings, often made without overdubs in his workshop barn in Pennsylvania, we’ve never heard his touch applied quite so sensitively and yet intensely as on these works.
With remarkable patience and finely attuned to the instrument and the acoustics of the space, Bertoia’s haptics generate slow, purposeful climaxes of shivering metallic tone and shimmering reverberation in the first three works, including a utterly immersive 30 minute title piece, before arriving at an historic standout in his catalogue with ‘7 ½ & 7 ½ Combined’, rendering one of his earliest example of overdubbing a playback of previous recording with a live-performance. If you’re also familiar with and favour Bertoia’s work, we can practically assure you that it’s vital listening and nothing less than a seminal, if previously unheard, part of his singular gift to experimental music.
Call it ambient, drone, sculptural sound art, or whatever the fuck you like; this is just amazing music to get lost inside, dialling up the rarest atavistic sensations certain to leave one reeling in imaginary space. Massive RIYL anything from Roland Kayn to Jim O’Rourke’s Old News works or Pauline Oliveros Deep Listening trips.
Outstanding formative works by inimitable polymath Harry Bertoia, getting familiar with his metal rod sculpture-cum-instrument at an early curve of his peerless oeuvre in 1970 at the Sonambient barn
Plucked from his vast archive of recordings, the newly unveiled works on ‘Hints Of Things To Come’ hold among Bertoia’s most unique and melodic discoveries. Ever since first encountering his work in the ’Sonambient (Complete Collection)’ survey of his private press label, admirably collected and issued by Important in 2016, Bertoia’s mastery of abstract, resonant sound has had us utterly rapt for the best part of a decade now. While we’re familiar with the series’ range of cavernous live recordings, often made without overdubs in his workshop barn in Pennsylvania, we’ve never heard his touch applied quite so sensitively and yet intensely as on these works.
With remarkable patience and finely attuned to the instrument and the acoustics of the space, Bertoia’s haptics generate slow, purposeful climaxes of shivering metallic tone and shimmering reverberation in the first three works, including a utterly immersive 30 minute title piece, before arriving at an historic standout in his catalogue with ‘7 ½ & 7 ½ Combined’, rendering one of his earliest example of overdubbing a playback of previous recording with a live-performance. If you’re also familiar with and favour Bertoia’s work, we can practically assure you that it’s vital listening and nothing less than a seminal, if previously unheard, part of his singular gift to experimental music.
Call it ambient, drone, sculptural sound art, or whatever the fuck you like; this is just amazing music to get lost inside, dialling up the rarest atavistic sensations certain to leave one reeling in imaginary space. Massive RIYL anything from Roland Kayn to Jim O’Rourke’s Old News works or Pauline Oliveros Deep Listening trips.
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Outstanding formative works by inimitable polymath Harry Bertoia, getting familiar with his metal rod sculpture-cum-instrument at an early curve of his peerless oeuvre in 1970 at the Sonambient barn
Plucked from his vast archive of recordings, the newly unveiled works on ‘Hints Of Things To Come’ hold among Bertoia’s most unique and melodic discoveries. Ever since first encountering his work in the ’Sonambient (Complete Collection)’ survey of his private press label, admirably collected and issued by Important in 2016, Bertoia’s mastery of abstract, resonant sound has had us utterly rapt for the best part of a decade now. While we’re familiar with the series’ range of cavernous live recordings, often made without overdubs in his workshop barn in Pennsylvania, we’ve never heard his touch applied quite so sensitively and yet intensely as on these works.
With remarkable patience and finely attuned to the instrument and the acoustics of the space, Bertoia’s haptics generate slow, purposeful climaxes of shivering metallic tone and shimmering reverberation in the first three works, including a utterly immersive 30 minute title piece, before arriving at an historic standout in his catalogue with ‘7 ½ & 7 ½ Combined’, rendering one of his earliest example of overdubbing a playback of previous recording with a live-performance. If you’re also familiar with and favour Bertoia’s work, we can practically assure you that it’s vital listening and nothing less than a seminal, if previously unheard, part of his singular gift to experimental music.
Call it ambient, drone, sculptural sound art, or whatever the fuck you like; this is just amazing music to get lost inside, dialling up the rarest atavistic sensations certain to leave one reeling in imaginary space. Massive RIYL anything from Roland Kayn to Jim O’Rourke’s Old News works or Pauline Oliveros Deep Listening trips.