Blue Sausage Infant and CHANGES TO blind met in 1992 for these improvised studio recordings, and to perform CTb's sonic tour of a house live at Troy, NY's Last Exit.
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Label: Intangible Arts
Catalog ID: IA011
Squidco Product Code: 12012
Packaging: Paper foldover in a plastic sleeve
Tracks 1, 2, & 4 recorded at The Mucal Studio, Rotterdamn, NY April 1992. Track 3 recorded live at Last Exit, Troy, NY on April 25, 1992
Zampino-electronics, samplers, synth, voice
Hawkins-samples, tapes, guitar, bass, vocals
Robin-vocals, effects processing (tracks 3 & 4)
Pierce-tenor sax (tracks 3 & 4)
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1. Esophagus Full Of Marbles 22:00
2. Outhouse 1 5:25
3. House 21:02
4. Outhouse 2 1:53
Related Categories of Interest:
Sound, Noise, &c.
sample the album:
Blue Sausage Infant and CHANGES TO blind met in 1992 to perform CTb's sonic tour of a house live at Troy, NY's Last Exit, and to create these improvised studio recordings. CHANGES TO blind is Squidco's Phil Zampino, augmented live with Robin Sumrall, creating organized sound recordings that utilize improvised approaches to create dense and expeditionary works that owe a great deal to the NY Downtown and artists like David Myers (Arcane Device). Blue Sausage Infant is Chester Hawkins' long running sound project, creating brutalist noise, textured drone, pounding neo-tribalism and krautrock-flavored psychedelic sound; for the live performace BSI performed was augmented with L. Pierce on tenor sax.
"House" was a conceptual or thematic work, reflecting various and often absurd views of the various rooms and facets of a house. The piece uses a range of treated and manipulated samples, effected free vocal improv, distant sax ruminations, and BSI's twisted psychedelic drive - these soundboard recordings capture the essence of the performance. The remaining tracks were recorded during the rehearsals for "House", where Hawkins and Zampino improvised freely using similar sound sources without thematic constraint, creating a disturbing set of recordings. Those tracks are epitomized in "Esophagus Full of Marbles", a phrase heard early in that recording, an image that well captures the thick gargling sound of their collaboration.