A split LP from two Bay area electronic composers inspired by the masters of tape and electronic music: Vulcanus 68 in a nostalgic rendering of spliced and collaged tape techniques; and Thomas Carnacki in an engaging collage of identifiable or sinister sound.
Label: Alethiometer / Gigante
Catalog ID: whistle05 / GIGA027
Squidco Product Code: 19852
Side A recorded at Maison Bosco in Janurary 2013.
Side B recorded 2008-2010 in various rooms and studios.
Cheryl E. Leonard
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Elegant Things, Distressing Things, Things Not Worth Doing 20:13
Arcano XV 13:40
Related Categories of Interest:
Organized Sound and Sample Based Music
Sound, Noise, &c.
New in Experimental & Electronic Music
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"The history of tape and electronic music has long, deep roots in the fertile soil of San Francisco's Bay Area, from which Thomas Carnacki and Vulcanus 68 are relatively new fruits. Its abundance of open-minded academic institutions has cultivated a network of experimental greenhouses, full of faculties, college radio stations and performance venues that have been planting avant-garde audio philosophies in beds of developing technologies for decades. Indeed, Mills College alone boasts a long list of key figures from the history of experimental electronic music including John Cage, Terry Riley, Pauline Oliveros, Morton Subotnik, Robert Ashley, Steve Reich and Laurie Anderson who all studied or taught (or did both) at the institution.
In today's sea breeze, drifting into the Bay from the Pacific infused with decades of freely creative sonic play, Thomas Carnacki and Vulcanus 68 have formed this split release inspired by "the hallowed masters of tape and electronic music," as its sleeve-notes proclaim. But each has a markedly different take on its use of tape and tones, while both extend their homage overseas to Europe's equally rich seams of electronic experimentation.
Vulcanus 68's side provides perhaps the most nostalgic rendering of spliced and collaged tape techniques. Formed about ten years ago by Jared Blum and Dominic Cramp, the duo's occasional releases all involve samples and synths that reflect yesteryear's hands-on experimentations, now overshadowed by today's point-and-click desktop dominance. While their last album, 2011's Contours And Colours, posed a more "classical" mood of synth symphonies suitable for science fiction themes, the two pieces offered on this latest release return to the rougher rudiments of their earlier work explicitly influenced by musique concrète. This is particularly the case with the short piece 'Azra' whose four minutes evoke 1950s laboratories whose stale air is spiced and sliced with unstable, echoic tones, voice fragments and varispeed effects. The longer piece, 'Arcano XV', pulls off a more psychedelic atmosphere culled from live sessions between 2008 and 2010. Kicking off with a parade of deliriously bending noises, a low, suspended moaning emerges before a deliciously crackling fire as it is gradually invaded by foreign, radiophonic stabs and suspense trills.
On the other side, Thomas Carnacki's 20 minute contribution seems more contemporary and more idiosyncratic, ploughing its own field rather than nodding to its ancestors buried beneath. Although, that's not to say the field is an isolated one - the nearest neighbour to Carnacki's personal soundworld being the surrealism of Nurse With Wound, with whom the collective's founder, Greg Scharpen, has played before, as well as being a long-term friend and collaborator with the Nurse's own West Coast correspondent, Matt Waldron (AKA irr. app. (ext.)) who provided the Lovecraftian cover for this release.
Like much of Nurse With Wound's output, the longform piece elusively-titled 'Elegant Things, Distressing Things, Things Not Worth Doing', is based around some exquisitely captured creaks and splashes interwoven with almost-musical matter. This combination of recognisable sound elements (footsteps in water, seagull cries) with eerie, unidentifiable others (all manner of sinister electronic shards and lengthy, portentous scrapes) casts a narrative of sorts in the mind on initial inspection - an exploration of a haunted shipwreck, perhaps. But with subsequent listens avoiding the urge to identify the significance of the sounds - which apparently includes a coffee grinder, a jar of marbles and "some rocks" - we get a beautifully engaging and evolving series of crafted textures and tones to orbit our ears and enter our unconscious. The result is an evocative dimension akin to Burroughs' interzone, whose definition works equally well in describing Carnacki's soundworld: "where three-dimensional fact merges into dream, and dreams erupt into the real world..."."-Russel Cuzner, thequietus.com