Supremely heavyweight 3+ hours of Phill Niblock’s immense instrumental slabs - essential listening for disciples of Éliane Radigue, Tony Conrad, Kevin Drumm, Sunn 0))), Eleh.
R.I.P
First presented in 2006, ‘Touch Three’ showcases 9 pieces, 3hr 33min of material recorded and processed by Niblock between 2003-2005. Aside to its ‘sax Mix’, all works were produced from the sound of one player, on one instrument, into a sole mic, whose recordings were edited of breathing spaces with a Powerbook G4 to leave only the natural decay and attack of their tones. All straightforward enough, but the results are powerfully transcendent, producing sustained microtones that uncannily resemble electronic sources yet are entirely acoustic in nature.
In effect the works induce an acute sense of suspense on the cusp of calm and dread, favouring the sort of resonances that one recognises from the “real” world, although exaggerated. In the process his organised sounds connote the feel of horror films as much as the hypnagogia of riding heavy machinery such as a bus or more pertinently a motorbike, the latter of which, along with the music of Morton Feldman, initially inspired Niblock - a photographer and pioneering Intermedia artist by trade - to start arranging sound in the ‘70s.
It’s safe to say that Niblock’s music effortlessly aids one in achieving rarer states of mind. Given due attention (it more often demands, not requests it), it holds great potential to inspire sensations of synaesthesia and short circuit audio-visual, spatio-temporal perceptions like few others.
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Supremely heavyweight 3+ hours of Phill Niblock’s immense instrumental slabs - essential listening for disciples of Éliane Radigue, Tony Conrad, Kevin Drumm, Sunn 0))), Eleh.
R.I.P
First presented in 2006, ‘Touch Three’ showcases 9 pieces, 3hr 33min of material recorded and processed by Niblock between 2003-2005. Aside to its ‘sax Mix’, all works were produced from the sound of one player, on one instrument, into a sole mic, whose recordings were edited of breathing spaces with a Powerbook G4 to leave only the natural decay and attack of their tones. All straightforward enough, but the results are powerfully transcendent, producing sustained microtones that uncannily resemble electronic sources yet are entirely acoustic in nature.
In effect the works induce an acute sense of suspense on the cusp of calm and dread, favouring the sort of resonances that one recognises from the “real” world, although exaggerated. In the process his organised sounds connote the feel of horror films as much as the hypnagogia of riding heavy machinery such as a bus or more pertinently a motorbike, the latter of which, along with the music of Morton Feldman, initially inspired Niblock - a photographer and pioneering Intermedia artist by trade - to start arranging sound in the ‘70s.
It’s safe to say that Niblock’s music effortlessly aids one in achieving rarer states of mind. Given due attention (it more often demands, not requests it), it holds great potential to inspire sensations of synaesthesia and short circuit audio-visual, spatio-temporal perceptions like few others.
Supremely heavyweight 3+ hours of Phill Niblock’s immense instrumental slabs - essential listening for disciples of Éliane Radigue, Tony Conrad, Kevin Drumm, Sunn 0))), Eleh.
R.I.P
First presented in 2006, ‘Touch Three’ showcases 9 pieces, 3hr 33min of material recorded and processed by Niblock between 2003-2005. Aside to its ‘sax Mix’, all works were produced from the sound of one player, on one instrument, into a sole mic, whose recordings were edited of breathing spaces with a Powerbook G4 to leave only the natural decay and attack of their tones. All straightforward enough, but the results are powerfully transcendent, producing sustained microtones that uncannily resemble electronic sources yet are entirely acoustic in nature.
In effect the works induce an acute sense of suspense on the cusp of calm and dread, favouring the sort of resonances that one recognises from the “real” world, although exaggerated. In the process his organised sounds connote the feel of horror films as much as the hypnagogia of riding heavy machinery such as a bus or more pertinently a motorbike, the latter of which, along with the music of Morton Feldman, initially inspired Niblock - a photographer and pioneering Intermedia artist by trade - to start arranging sound in the ‘70s.
It’s safe to say that Niblock’s music effortlessly aids one in achieving rarer states of mind. Given due attention (it more often demands, not requests it), it holds great potential to inspire sensations of synaesthesia and short circuit audio-visual, spatio-temporal perceptions like few others.