Open Vocal Phrases Where Songs Come In and Out (Live 12/20/85)
ARTHUR RUSSELL
Open Vocal Phrases Where Songs Come In and Out (Live 12/20/85)
Boomkat Product Review:
A real slice of fly-on-wall magic, paying witness to Arthur Russell seeding what became his masterpiece for cello and FX, ‘World of Echo’ at Phill Niblock’s legendary EI loft space in Downtown NYC, 1985.
‘Open Vocal Phrases, Where Songs Come In and Out’ is the adorable sibling piece to a pair of concerts organised and overseen by NYC drone maverick and pivotal experimental art and music figure Phill Niblock, along with recordings that surfaced on the 2020 cassette (and digital) edition of ‘Sketches for World of Echo: June 25 1984 Live at EI’.
Between the two sessions, recorded in the same loft space to lucky audiences some 18 months apart, we’re privy to the genesis of one of the late C.20th’s most enduring and enigmatic masterworks of experimental and popular music, a quietly stellar album future-proofed by its humble minimalism, and baring a fragile, perfectly damaged soul that’s kept it regularly in press since 2004, then after decades as a proper IYKYK type of record.
From the two concerts Arthur would judiciously parse a quintessence for passages of ephemeral magic that was sequenced beside studio recordings to make the final version of ‘World of Echo’, issued in 1986. The album would legendarily distill his myriad musical interests - pop, dance, country-folk and aspects of Western and Indian classical - in transcendent forms, as heard articulated in-the-moment and in-the-flow right here, and enduring as the defitnive, final album to be released in his lifetime (1951-1992).
The gingerest brushstrokes of his trusted cello are subtly, and sometimes radically, transformed with an early digital delay unit (DeltaLabs Affectron 1024) and other boxes to make cats-cradle beds that buoy a cornflower blue soft voice that, as the title implies, rolls out with a quality more akin to the durational, open structures of Indian raga and West African grooves than anything found in western music, preternaturally blurring distinctions, borders, in the process.
It’s most striking for the 19 minute playthru of ‘Tower of Meaning - Rabbit's Ear - Home Away From Home (Live 122085)’, and also for the set’s rudest moment in the taut gnurl of ‘Too early to Tell (Live 122085)’, and when he pushes out into blistering harmonic discord and just-intoned bliss on ‘Changing Forest (Live 62484)’ into ’Sunlit Water (Live 62484)’. But then again it’s all just a remarkable document of real-time workings-out for one of the best records in our lifetime. Don’t think twice, its an absolute beauty.
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Boomkat Product Review:
A real slice of fly-on-wall magic, paying witness to Arthur Russell seeding what became his masterpiece for cello and FX, ‘World of Echo’ at Phill Niblock’s legendary EI loft space in Downtown NYC, 1985.
‘Open Vocal Phrases, Where Songs Come In and Out’ is the adorable sibling piece to a pair of concerts organised and overseen by NYC drone maverick and pivotal experimental art and music figure Phill Niblock, along with recordings that surfaced on the 2020 cassette (and digital) edition of ‘Sketches for World of Echo: June 25 1984 Live at EI’.
Between the two sessions, recorded in the same loft space to lucky audiences some 18 months apart, we’re privy to the genesis of one of the late C.20th’s most enduring and enigmatic masterworks of experimental and popular music, a quietly stellar album future-proofed by its humble minimalism, and baring a fragile, perfectly damaged soul that’s kept it regularly in press since 2004, then after decades as a proper IYKYK type of record.
From the two concerts Arthur would judiciously parse a quintessence for passages of ephemeral magic that was sequenced beside studio recordings to make the final version of ‘World of Echo’, issued in 1986. The album would legendarily distill his myriad musical interests - pop, dance, country-folk and aspects of Western and Indian classical - in transcendent forms, as heard articulated in-the-moment and in-the-flow right here, and enduring as the defitnive, final album to be released in his lifetime (1951-1992).
The gingerest brushstrokes of his trusted cello are subtly, and sometimes radically, transformed with an early digital delay unit (DeltaLabs Affectron 1024) and other boxes to make cats-cradle beds that buoy a cornflower blue soft voice that, as the title implies, rolls out with a quality more akin to the durational, open structures of Indian raga and West African grooves than anything found in western music, preternaturally blurring distinctions, borders, in the process.
It’s most striking for the 19 minute playthru of ‘Tower of Meaning - Rabbit's Ear - Home Away From Home (Live 122085)’, and also for the set’s rudest moment in the taut gnurl of ‘Too early to Tell (Live 122085)’, and when he pushes out into blistering harmonic discord and just-intoned bliss on ‘Changing Forest (Live 62484)’ into ’Sunlit Water (Live 62484)’. But then again it’s all just a remarkable document of real-time workings-out for one of the best records in our lifetime. Don’t think twice, its an absolute beauty.
Boomkat Product Review:
A real slice of fly-on-wall magic, paying witness to Arthur Russell seeding what became his masterpiece for cello and FX, ‘World of Echo’ at Phill Niblock’s legendary EI loft space in Downtown NYC, 1985.
‘Open Vocal Phrases, Where Songs Come In and Out’ is the adorable sibling piece to a pair of concerts organised and overseen by NYC drone maverick and pivotal experimental art and music figure Phill Niblock, along with recordings that surfaced on the 2020 cassette (and digital) edition of ‘Sketches for World of Echo: June 25 1984 Live at EI’.
Between the two sessions, recorded in the same loft space to lucky audiences some 18 months apart, we’re privy to the genesis of one of the late C.20th’s most enduring and enigmatic masterworks of experimental and popular music, a quietly stellar album future-proofed by its humble minimalism, and baring a fragile, perfectly damaged soul that’s kept it regularly in press since 2004, then after decades as a proper IYKYK type of record.
From the two concerts Arthur would judiciously parse a quintessence for passages of ephemeral magic that was sequenced beside studio recordings to make the final version of ‘World of Echo’, issued in 1986. The album would legendarily distill his myriad musical interests - pop, dance, country-folk and aspects of Western and Indian classical - in transcendent forms, as heard articulated in-the-moment and in-the-flow right here, and enduring as the defitnive, final album to be released in his lifetime (1951-1992).
The gingerest brushstrokes of his trusted cello are subtly, and sometimes radically, transformed with an early digital delay unit (DeltaLabs Affectron 1024) and other boxes to make cats-cradle beds that buoy a cornflower blue soft voice that, as the title implies, rolls out with a quality more akin to the durational, open structures of Indian raga and West African grooves than anything found in western music, preternaturally blurring distinctions, borders, in the process.
It’s most striking for the 19 minute playthru of ‘Tower of Meaning - Rabbit's Ear - Home Away From Home (Live 122085)’, and also for the set’s rudest moment in the taut gnurl of ‘Too early to Tell (Live 122085)’, and when he pushes out into blistering harmonic discord and just-intoned bliss on ‘Changing Forest (Live 62484)’ into ’Sunlit Water (Live 62484)’. But then again it’s all just a remarkable document of real-time workings-out for one of the best records in our lifetime. Don’t think twice, its an absolute beauty.
Boomkat Product Review:
A real slice of fly-on-wall magic, paying witness to Arthur Russell seeding what became his masterpiece for cello and FX, ‘World of Echo’ at Phill Niblock’s legendary EI loft space in Downtown NYC, 1985.
‘Open Vocal Phrases, Where Songs Come In and Out’ is the adorable sibling piece to a pair of concerts organised and overseen by NYC drone maverick and pivotal experimental art and music figure Phill Niblock, along with recordings that surfaced on the 2020 cassette (and digital) edition of ‘Sketches for World of Echo: June 25 1984 Live at EI’.
Between the two sessions, recorded in the same loft space to lucky audiences some 18 months apart, we’re privy to the genesis of one of the late C.20th’s most enduring and enigmatic masterworks of experimental and popular music, a quietly stellar album future-proofed by its humble minimalism, and baring a fragile, perfectly damaged soul that’s kept it regularly in press since 2004, then after decades as a proper IYKYK type of record.
From the two concerts Arthur would judiciously parse a quintessence for passages of ephemeral magic that was sequenced beside studio recordings to make the final version of ‘World of Echo’, issued in 1986. The album would legendarily distill his myriad musical interests - pop, dance, country-folk and aspects of Western and Indian classical - in transcendent forms, as heard articulated in-the-moment and in-the-flow right here, and enduring as the defitnive, final album to be released in his lifetime (1951-1992).
The gingerest brushstrokes of his trusted cello are subtly, and sometimes radically, transformed with an early digital delay unit (DeltaLabs Affectron 1024) and other boxes to make cats-cradle beds that buoy a cornflower blue soft voice that, as the title implies, rolls out with a quality more akin to the durational, open structures of Indian raga and West African grooves than anything found in western music, preternaturally blurring distinctions, borders, in the process.
It’s most striking for the 19 minute playthru of ‘Tower of Meaning - Rabbit's Ear - Home Away From Home (Live 122085)’, and also for the set’s rudest moment in the taut gnurl of ‘Too early to Tell (Live 122085)’, and when he pushes out into blistering harmonic discord and just-intoned bliss on ‘Changing Forest (Live 62484)’ into ’Sunlit Water (Live 62484)’. But then again it’s all just a remarkable document of real-time workings-out for one of the best records in our lifetime. Don’t think twice, its an absolute beauty.
Full colour insert + liner notes. Includes complete version of Tower of Meaning/Rabbit’s Ear/Home Away plus previously unreleased songs That’s The Very Reason + Too Early to Tell.
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:
A real slice of fly-on-wall magic, paying witness to Arthur Russell seeding what became his masterpiece for cello and FX, ‘World of Echo’ at Phill Niblock’s legendary EI loft space in Downtown NYC, 1985.
‘Open Vocal Phrases, Where Songs Come In and Out’ is the adorable sibling piece to a pair of concerts organised and overseen by NYC drone maverick and pivotal experimental art and music figure Phill Niblock, along with recordings that surfaced on the 2020 cassette (and digital) edition of ‘Sketches for World of Echo: June 25 1984 Live at EI’.
Between the two sessions, recorded in the same loft space to lucky audiences some 18 months apart, we’re privy to the genesis of one of the late C.20th’s most enduring and enigmatic masterworks of experimental and popular music, a quietly stellar album future-proofed by its humble minimalism, and baring a fragile, perfectly damaged soul that’s kept it regularly in press since 2004, then after decades as a proper IYKYK type of record.
From the two concerts Arthur would judiciously parse a quintessence for passages of ephemeral magic that was sequenced beside studio recordings to make the final version of ‘World of Echo’, issued in 1986. The album would legendarily distill his myriad musical interests - pop, dance, country-folk and aspects of Western and Indian classical - in transcendent forms, as heard articulated in-the-moment and in-the-flow right here, and enduring as the defitnive, final album to be released in his lifetime (1951-1992).
The gingerest brushstrokes of his trusted cello are subtly, and sometimes radically, transformed with an early digital delay unit (DeltaLabs Affectron 1024) and other boxes to make cats-cradle beds that buoy a cornflower blue soft voice that, as the title implies, rolls out with a quality more akin to the durational, open structures of Indian raga and West African grooves than anything found in western music, preternaturally blurring distinctions, borders, in the process.
It’s most striking for the 19 minute playthru of ‘Tower of Meaning - Rabbit's Ear - Home Away From Home (Live 122085)’, and also for the set’s rudest moment in the taut gnurl of ‘Too early to Tell (Live 122085)’, and when he pushes out into blistering harmonic discord and just-intoned bliss on ‘Changing Forest (Live 62484)’ into ’Sunlit Water (Live 62484)’. But then again it’s all just a remarkable document of real-time workings-out for one of the best records in our lifetime. Don’t think twice, its an absolute beauty.
Double CD digipack + full colour insert and liner notes. "Open Vocal Phrases, Where Songs Come In and Out" plus the complete "Sketches For World Of Echo" (available for the first time on CD).
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:
A real slice of fly-on-wall magic, paying witness to Arthur Russell seeding what became his masterpiece for cello and FX, ‘World of Echo’ at Phill Niblock’s legendary EI loft space in Downtown NYC, 1985.
‘Open Vocal Phrases, Where Songs Come In and Out’ is the adorable sibling piece to a pair of concerts organised and overseen by NYC drone maverick and pivotal experimental art and music figure Phill Niblock, along with recordings that surfaced on the 2020 cassette (and digital) edition of ‘Sketches for World of Echo: June 25 1984 Live at EI’.
Between the two sessions, recorded in the same loft space to lucky audiences some 18 months apart, we’re privy to the genesis of one of the late C.20th’s most enduring and enigmatic masterworks of experimental and popular music, a quietly stellar album future-proofed by its humble minimalism, and baring a fragile, perfectly damaged soul that’s kept it regularly in press since 2004, then after decades as a proper IYKYK type of record.
From the two concerts Arthur would judiciously parse a quintessence for passages of ephemeral magic that was sequenced beside studio recordings to make the final version of ‘World of Echo’, issued in 1986. The album would legendarily distill his myriad musical interests - pop, dance, country-folk and aspects of Western and Indian classical - in transcendent forms, as heard articulated in-the-moment and in-the-flow right here, and enduring as the defitnive, final album to be released in his lifetime (1951-1992).
The gingerest brushstrokes of his trusted cello are subtly, and sometimes radically, transformed with an early digital delay unit (DeltaLabs Affectron 1024) and other boxes to make cats-cradle beds that buoy a cornflower blue soft voice that, as the title implies, rolls out with a quality more akin to the durational, open structures of Indian raga and West African grooves than anything found in western music, preternaturally blurring distinctions, borders, in the process.
It’s most striking for the 19 minute playthru of ‘Tower of Meaning - Rabbit's Ear - Home Away From Home (Live 122085)’, and also for the set’s rudest moment in the taut gnurl of ‘Too early to Tell (Live 122085)’, and when he pushes out into blistering harmonic discord and just-intoned bliss on ‘Changing Forest (Live 62484)’ into ’Sunlit Water (Live 62484)’. But then again it’s all just a remarkable document of real-time workings-out for one of the best records in our lifetime. Don’t think twice, its an absolute beauty.
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