実験音楽のﾍﾞﾃﾗﾝPHILL NIBLOCK による､すべてﾛﾝｸﾞﾄｰﾝで構成された意欲的 3枚組CD. 本作に収録された9作品はいづれも､1本のﾏｲｸで録音された1つの楽器によるﾄﾞﾛｰﾝ作品である｡使用された楽器は､ｷﾞﾀｰ､ﾁｪﾛ､ｻｯｸｽ､ﾄﾗﾝﾍﾟｯﾄ等の生楽器であり､1 つのﾄｰﾝを15秒間程度持続し､複数のﾄｰﾝをｺﾝﾋﾟｭｰﾀｰ上で重ねたり､ﾃﾞｨｹｲ､ﾃﾞｨﾚｲをかけるなど若干の加工を施しながら､美しいﾄﾞﾛｰﾝ作品へと仕上げられた｡重層的なｻｳﾝﾄﾞの微妙な重なり､遅れ等を楽しめる感性を持ったﾘｽﾅｰならば､この3枚組というﾎﾞﾘｭｰﾑは非常に嬉しい限りである｡ｼﾞｬｹｯﾄも美麗｡2009年再発売盤｡ track information: CD one Sethwork (21:48, 2003) Seth Josel, acoustic unamplified guitars played with e-bow Harm (24:43, 2003) Arne Deforce, cello Lucid Sea (20:24, 2003) Lucia Mense, recorders CD two Parkers Altered Mood, aka, Owed to Bird (16:27, 2004) Ulrich Krieger, alto saxophone Zrost(23:32, 2004) Martin Zrost, soprano saxophone Not Yet Titled (22:20, 2003) Franz Hautzinger, trumpet CD three Valence (2005, 23:02) Julia Eckhardt, viola Alto Tune (25:08, 2004) Ulrich Krieger, alto saxophone Sax Mix (25:08, 2004) Ulrich Krieger, alto, tenor and baritone sax.
info:
2006 release, repressed. This is Phill Niblock's third release on the Touch label. Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968's barricade hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist. His influence has had more impact on younger composers such as Susan Stenger, Lois V. Vierk, David First, and Glenn Branca. Touch Three is minimalism in the classic sense of the word, if that makes sense. Niblock constructs big 24-track digitally-processed monolithic microtonal drones, and the result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti's choral works, but a little more phased. He says: "What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly." These nine pieces were made from March 2003 to January 2005. They were all made (except "Sax Mix") by recording a single instrument with a single microphone. The recordings were direct to the computer/hard disk, most of them using a Powerbook G4, Pro Tools, an M-box and an external firewire drive. The resulting mono sound files were edited to remove breathing spaces, leaving the natural decay of the tone, and the attack of the subsequent iteration of the same tone. Each note was represented by several repetitions, perhaps ten for each tone, of about 15 seconds duration each. Each piece uses a few tones. A simple chord, perhaps. Additional microtonal intervals were produced in Pro Tools using pitch shift. The pieces were assembled in multitracks, usually either 24 or 32 tracks. The recording environment varied from a simple apartment in Berlin (Ulrich Krieger's) to a very large hall used for symphony orchestra performances and recordings, with a sizable audience space. The recordings were generally done quite closely miked. One hears only the sound of the instrument. There is no electronic manipulation in the recording, the editing of the tones, or in the mix. The only changes to the recorded tones are the pitch shifts to create microtones...the microtones are doing the work.
Track Listing:
Disc 1
01. Harm 21:50 listen
02. Sethwork 20:26
03. Lucid Sea 24:43
Disc 2
01. Parker's Altered Mood, aka, Owed to Bird 16:29
02. Zrost 23:34 listen
03. Not Yet Titled 22:20
Disc 3
01. Valence 23:04
02. Alto Tune 25:10
03. Sax Mix 25:08
- In the history books Niblock may be the forgotten Minimalist, but ultimately he will be recognized to be as important as, and perhaps even more innovative than the genre's historical figureheads: Steve Reich, Philip Glass, La Monte Young, John Adams, etc.
- This is Niblock's largest scale release to date (3CDs, 202 total minutes!) and is the most heavily anticipated document of his recording career. Niblock's music represents the state-of-the-art voice of a generation for serious sound projection, not to be missed.
- Niblock has influenced such composers as Susan Stenger, Lois V. Vierk, David First, and Glenn Branca. He's also worked with Sonic Youth's Thurston Moore and Lee Ranaldo.
- Phill Niblock is featured on the front cover of The Wire magazine, March 2006.
- "Touch Food is an exceptional collection of works by one of the outstanding composers of our time." --Stephan Mathieu
-- (on Touch Food): "This is music for listeners who want a challenge, who want something totally different, who want activity instead of passivity. The music doesn't tell you what to think, or how to think, or what to feel. It's yours for the taking, and you should make the best of the opportunity." --Tiny Mix Tapes
