Paul Khimasia Morgan is a British guitarist and sound artist who performs on a prepared acoustic guitar body and zither, using objects and electronics to create works of tones, interventions and transitions, here in four rich pieces of well-chosen sound delivered with patient pacing, keeping each piece active while exploring the potential of his instruments and devices.
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Catalog ID: ccs 84
Squidco Product Code: 25459
Packaging: CDr in a tin case
Track 2 recorded by Karl Sveinsson in Salford. All other tracks recorded by Paul Khimasia Morgan in West Sussex
Paul Khimasia Morgan-prepared acoustic guitar body, objects
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• Show Bio for Paul Khimasia Morgan
"Paul Khimasia Morgan
Solo improvisation using electronic and acoustic sounding techniques on an Eko Ranger XII guitar body, feedback environment - and/or electronics, or zither.
Previous performance, creative and technical collaborations with Richard Sanderson, Charlotte Keefe, Simon Whetham, Seth Cooke, Blanca Regina, Matthias Kispert, Joseph Young and Kay Aplin, Michael Fairfax, Barry Witherden, Jamie Sturrock, Kuroneko, Simon Drinkwater, Dimitra Lazaridou-Chatzigoga, Robert Curgenven, Jason Kahn, Duncan Harrison, The Kakopyge Quartet, Claire Elizabeth Barrett, Ryu Hankil, Jez riley French, Patrick Farmer, Seijiro Murayama, Daichi Yoshikawa, Mouth Full Of Worms, Geoff Smith, Daniel Jones, David Papapostolou, Adam Lygo, Bela Emerson, Imitation Electric Piano, Europa 51, Mike Shreeve (Panther Paw), Stevie Snax (The Stupids), with JJ Maurage as Tinnitus and The Vitamin B12.
Releases on Confront, Linear Obsessional, TSOKL, Absence of Wax, Cronica, Aural Detritus, Engraved Glass, ATTN: Magazine, The Sound Projector and Con-V
Curator of Aural Detritus Concert Series (adcs) 2010 - present
Label head at The Slightly Off Kilter Label (TSOKL) 2003 - present
Writes for The Sound Projector magazine and Honest Music For Dishonest Times blog."-Paul Khimasia Morgan Website (http://paulkhimasiamorgan.blogspot.co.uk/p/biography.html)
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1. Wtda 6:13
2. Queensarc 4:01
3. Peoplegrowold 8:27
4. Waterchimes 6:43
sample the album:
"Morgan's listed on only "prepared acoustic guitar body & objects" on this short, lovely recording. One can only imagine the preparations and the nature of those objects as they seem to extend beyond the usual e-bows and contact mics. The thought of "guitar" might well not surface during a given listen. But that's somewhat beside the point as the four pieces on their own are delicate, intricate explorations, well-paced, sounds chosen with care and a fine ear.&&
One might say that the music meanders but in a modest, intelligent manner, seeking out small byways to investigate. On the first track, 'wtda', a guitar-string jangle morphs into a several-layered hum, very discreet, slowing deepening and splaying out, dissolving into a set of the hums alternating with what sounds like brief slices of same. There's a sense of the nocturnal, of noises in the dark, of ambling through a quiet but not entirely inactive town that percolates in a ghostly way while most are sleeping. Morgan provides just enough iteration of certain elements and occasional pulse to propel things along from sound to sound, barely enough to impart a sense of purpose, just the right amount. 'queensarc' opens with a tiny snatch of voice, perhaps from a radio, and is pricklier than it's predecessor, still offering hums but edgier, more quavery ones, offset with various pieces of static and crackling. There are short silences, like extended eye blinks, the gaze of the viewer shifting slightly each time. It's a more industrial area, tauter and more anxious. The title track starts in a crowded interior space for about a second then shifts to a buzzing drone gently reflecting glimmers of feedback. It wanders through that gritty haze, encountering the odd, muffled beat of a pop song here, traffic or a cough there; it's the most mysterious piece here, quite dreamy and effective. 'waterchimes' is perhaps the densest offering, with several layers and varieties of drone, sets of rustles and clicks and, yes, chime-like tones. As with all the music on this disc, it's less about the elements than how they're placed in context, how restrained is their usage and how surprising-yet-inevitable they appear. The gaze feels careful but distant, observing key aspects and allowing them to stand on their own.&&
A really fine recording, my favorite of what I've heard from Morgan thus far. Highly recommended."-Brian Olewnick, Just Outside
Get additional information at Brian Olewnick's Just Outside
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