A compendium of compositions and improvisations from 2009-13 by undersea acoustician and audio engineer A.F. Jones, who uses stringed instruments and analog devices, hand-crafted and found, in works that emphasize structural components such as timbre, tone, or attack over form.
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Label: Laminal Recordings
Catalog ID: lam.a.
Squidco Product Code: 19912
Packaging: Cardboard Gatefold
Recorded between 2009 and 2014 by A.F. Jones.
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• Show Bio for A.F. Jones
"A.F. Jones is the foudner of the tape label Laminal Audio, and has released recordings with Derek Rogers, Bruno Duplant, Cristian Alvear, etc on labels such as Glistening Examples, Rhizome-s and more."-Blogger (https://www.blogger.com/profile/12467841849714671483)
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1. X Malfeasant, Approapriating Y 13:48
2. Parachronists 8:34
3. Endocardiums IV 3:00
4. Radiator Piping 7:26
5. Sorrento Statis 1:04
6. Rearward Through Forgottenness 5:20
7. Wrought Signals 12:11
sample the album:
"A.F. Jones (Dallas, TX, 1971) is an undersea acoustician and audio engineer. Years of extended exposure to and interaction with the subsurface soundscape - combined with the critical, professional analysis of that environment - greatly influenced his concepts of music. This career has found translation to increas- ing activity as a sound artist and composer. His primary instrumentation are stringed instruments and analog devices, both hand-crafted and found. In addition to composition and performance, Jones records and works heavily from his studio in San Diego, California, Laminal Audio. Recent material includes a compendium of composed and improvised solo recordings, rearward through forgottenness (2009-2013), and the upcoming Entropy Is What the State Makes Of It (2014), which documents new music from Steerage, his duo project with guitarist Barry Chabala. As an engineer, recent contributions to experimental music include the expansive upcoming Wall of Skulls split tape on the Lengua de Lava record label, and Grisha Shakhnes' Distance and Decay (Organized Music From Thessaloniki).
rearward through forgottenness is the debut solo effort from A.F. Jones, a compendium of compositions and experimental improvisations from 2009 to 2013. A professional undersea acoustician, Jones' music emphasizes structural components such as timbre, tone, or attack over form. Exploiting the elements and phenomena related to the physics of sound, he surveys the immediacy of emotional stimuli that can result from choices determined in situ, in performance and in recordings. In doing so, Jones' work also explores the creation of chance psychoacoustic episodes for the listener/observer, such as the production of binaural beats using bass frequencies, or the tritone paradox, precipitated through the slow construction of acoustic conditions and select tones.
Binaural beats can be heard occasionally throughout "X Malfeasant, Appropriating Y" (2013), an instructive composition for feedbacking sources that explores natural oscillatory effects and phase cancellation. This phenomenon can also be briefly encountered in the title track. This first recorded realization of "X Malfeasant" originally appeared on Alastair Wilson's Admirable Restraint holiday compilation in 2013.
"Wrought Signals" (2012), is a piece for simple frequency modulation synthesis, subjected to voltage changes in oscillating circuits. Square waves interact acoustically and physically with sine waves from a separate source.
"radiator piping (Ostuni, 2009)" is raw audio captured from the following sources: stereo contact microphones; a hotel radiator; the notion, "Drones in everything."
"Parachronists" (2012) is a piece that fuses natural subsurface noise (Maryland pond with hydrophone), sine tones grounded to earth (signal generators), and air (chance radio transmissions).
"Sorrento stasis (Sorrento, 2010)" is the synthesis of feedbacking wet effects, producing multiple tones.
"endocardiums IV" (2011) attempts to exploit as many features as possible of a hollow body guitar, in real time, with live loops and stacked effects. This piece attempts to reveal the tonal character of the guitar, musically and architecturally."-Laminal
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