Music for Lock Grooves
Adrian Corker gets curiously transfixing results from purpose-made acetate locked grooves, arranged in various states of natural decay to pensive, off-kilter effect recalling the rustle of Bellows or Pole processed by William Basinski. Quietly brilliant stuff.
“SN Variations fifth release features two tracks in three parts each composed for lock grooves recorded onto acetate, percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.
A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Corker used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. Because of the softness of the acetate the lock grooves break down as they are re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined and edited forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.”
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Adrian Corker gets curiously transfixing results from purpose-made acetate locked grooves, arranged in various states of natural decay to pensive, off-kilter effect recalling the rustle of Bellows or Pole processed by William Basinski. Quietly brilliant stuff.
“SN Variations fifth release features two tracks in three parts each composed for lock grooves recorded onto acetate, percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.
A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Corker used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. Because of the softness of the acetate the lock grooves break down as they are re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined and edited forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.”
Adrian Corker gets curiously transfixing results from purpose-made acetate locked grooves, arranged in various states of natural decay to pensive, off-kilter effect recalling the rustle of Bellows or Pole processed by William Basinski. Quietly brilliant stuff.
“SN Variations fifth release features two tracks in three parts each composed for lock grooves recorded onto acetate, percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.
A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Corker used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. Because of the softness of the acetate the lock grooves break down as they are re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined and edited forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.”
Adrian Corker gets curiously transfixing results from purpose-made acetate locked grooves, arranged in various states of natural decay to pensive, off-kilter effect recalling the rustle of Bellows or Pole processed by William Basinski. Quietly brilliant stuff.
“SN Variations fifth release features two tracks in three parts each composed for lock grooves recorded onto acetate, percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.
A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Corker used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. Because of the softness of the acetate the lock grooves break down as they are re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined and edited forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.”
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Adrian Corker gets curiously transfixing results from purpose-made acetate locked grooves, arranged in various states of natural decay to pensive, off-kilter effect recalling the rustle of Bellows or Pole processed by William Basinski. Quietly brilliant stuff.
“SN Variations fifth release features two tracks in three parts each composed for lock grooves recorded onto acetate, percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.
A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Corker used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. Because of the softness of the acetate the lock grooves break down as they are re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined and edited forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.”