Since It Turned Out Something Else
The first long-form solo release from Adrian Corker in almost a decade is an ambitious proposition - a fusion of modern composition and electro-acoustic techniques that sounds like Jim O'Rourke doing a Stockhausen.
Corker describes "Since it Turned Out Something Else" as a selection of sounds that he'd rediscovered and eventually re-used to spark fresh compositions. Recorded in Japan, Berlin, France and the UK, the set bridges the gap between electro-acoustic music and modern composition in impressive ways. Corker's interest with the character of sound ("how acoustic sound can be transformed through physical materials") is the album's focal point, and on the opening two-parter he records the Ligeti Quartet to tape and slows it down, adding synth and piano. The second part is where things get more interesting though, Corker dubs Aisha Orazbayeva's violin to acetate using it as an expressive, warbling new instrument over atmospheric sub bass alongside Josephine Stephenson's alienating vocals.
On '9 Spaces', he ropes in Chris Watson to help record a room's electromagnetic field - making string instruments groan against a backdrop of Pascal Wyse's trombone drones with percussion and processing from Takuma Watanabe and Tatsuhisa Yamamoto. Sometimes it's tough to hear what's process and what's performance, He plays re-amplified beatbox hi-hats against ensemble strings - white noise, no less - on 'Adjacencies', with everything recorded by Chris Watson in a Northern ballroom. The result is a chilling, a post-horror FX scrape that wouldnt sound out of place on an A24.
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The first long-form solo release from Adrian Corker in almost a decade is an ambitious proposition - a fusion of modern composition and electro-acoustic techniques that sounds like Jim O'Rourke doing a Stockhausen.
Corker describes "Since it Turned Out Something Else" as a selection of sounds that he'd rediscovered and eventually re-used to spark fresh compositions. Recorded in Japan, Berlin, France and the UK, the set bridges the gap between electro-acoustic music and modern composition in impressive ways. Corker's interest with the character of sound ("how acoustic sound can be transformed through physical materials") is the album's focal point, and on the opening two-parter he records the Ligeti Quartet to tape and slows it down, adding synth and piano. The second part is where things get more interesting though, Corker dubs Aisha Orazbayeva's violin to acetate using it as an expressive, warbling new instrument over atmospheric sub bass alongside Josephine Stephenson's alienating vocals.
On '9 Spaces', he ropes in Chris Watson to help record a room's electromagnetic field - making string instruments groan against a backdrop of Pascal Wyse's trombone drones with percussion and processing from Takuma Watanabe and Tatsuhisa Yamamoto. Sometimes it's tough to hear what's process and what's performance, He plays re-amplified beatbox hi-hats against ensemble strings - white noise, no less - on 'Adjacencies', with everything recorded by Chris Watson in a Northern ballroom. The result is a chilling, a post-horror FX scrape that wouldnt sound out of place on an A24.
The first long-form solo release from Adrian Corker in almost a decade is an ambitious proposition - a fusion of modern composition and electro-acoustic techniques that sounds like Jim O'Rourke doing a Stockhausen.
Corker describes "Since it Turned Out Something Else" as a selection of sounds that he'd rediscovered and eventually re-used to spark fresh compositions. Recorded in Japan, Berlin, France and the UK, the set bridges the gap between electro-acoustic music and modern composition in impressive ways. Corker's interest with the character of sound ("how acoustic sound can be transformed through physical materials") is the album's focal point, and on the opening two-parter he records the Ligeti Quartet to tape and slows it down, adding synth and piano. The second part is where things get more interesting though, Corker dubs Aisha Orazbayeva's violin to acetate using it as an expressive, warbling new instrument over atmospheric sub bass alongside Josephine Stephenson's alienating vocals.
On '9 Spaces', he ropes in Chris Watson to help record a room's electromagnetic field - making string instruments groan against a backdrop of Pascal Wyse's trombone drones with percussion and processing from Takuma Watanabe and Tatsuhisa Yamamoto. Sometimes it's tough to hear what's process and what's performance, He plays re-amplified beatbox hi-hats against ensemble strings - white noise, no less - on 'Adjacencies', with everything recorded by Chris Watson in a Northern ballroom. The result is a chilling, a post-horror FX scrape that wouldnt sound out of place on an A24.
The first long-form solo release from Adrian Corker in almost a decade is an ambitious proposition - a fusion of modern composition and electro-acoustic techniques that sounds like Jim O'Rourke doing a Stockhausen.
Corker describes "Since it Turned Out Something Else" as a selection of sounds that he'd rediscovered and eventually re-used to spark fresh compositions. Recorded in Japan, Berlin, France and the UK, the set bridges the gap between electro-acoustic music and modern composition in impressive ways. Corker's interest with the character of sound ("how acoustic sound can be transformed through physical materials") is the album's focal point, and on the opening two-parter he records the Ligeti Quartet to tape and slows it down, adding synth and piano. The second part is where things get more interesting though, Corker dubs Aisha Orazbayeva's violin to acetate using it as an expressive, warbling new instrument over atmospheric sub bass alongside Josephine Stephenson's alienating vocals.
On '9 Spaces', he ropes in Chris Watson to help record a room's electromagnetic field - making string instruments groan against a backdrop of Pascal Wyse's trombone drones with percussion and processing from Takuma Watanabe and Tatsuhisa Yamamoto. Sometimes it's tough to hear what's process and what's performance, He plays re-amplified beatbox hi-hats against ensemble strings - white noise, no less - on 'Adjacencies', with everything recorded by Chris Watson in a Northern ballroom. The result is a chilling, a post-horror FX scrape that wouldnt sound out of place on an A24.
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The first long-form solo release from Adrian Corker in almost a decade is an ambitious proposition - a fusion of modern composition and electro-acoustic techniques that sounds like Jim O'Rourke doing a Stockhausen.
Corker describes "Since it Turned Out Something Else" as a selection of sounds that he'd rediscovered and eventually re-used to spark fresh compositions. Recorded in Japan, Berlin, France and the UK, the set bridges the gap between electro-acoustic music and modern composition in impressive ways. Corker's interest with the character of sound ("how acoustic sound can be transformed through physical materials") is the album's focal point, and on the opening two-parter he records the Ligeti Quartet to tape and slows it down, adding synth and piano. The second part is where things get more interesting though, Corker dubs Aisha Orazbayeva's violin to acetate using it as an expressive, warbling new instrument over atmospheric sub bass alongside Josephine Stephenson's alienating vocals.
On '9 Spaces', he ropes in Chris Watson to help record a room's electromagnetic field - making string instruments groan against a backdrop of Pascal Wyse's trombone drones with percussion and processing from Takuma Watanabe and Tatsuhisa Yamamoto. Sometimes it's tough to hear what's process and what's performance, He plays re-amplified beatbox hi-hats against ensemble strings - white noise, no less - on 'Adjacencies', with everything recorded by Chris Watson in a Northern ballroom. The result is a chilling, a post-horror FX scrape that wouldnt sound out of place on an A24.