Dedicated to Cor Fuhler, Tasmanian guitarist Nick Ashwood's extended composition is a thoughtfully introspective work of rich sonority, shifting harmonics and abstract tones generated through guitar bowing, recorded live to tape in two continuous recordings, the second overlaying the first as the work unfolds in a meditative and beautifully pensive manner.
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Label: Inexhaustible Editions
Catalog ID: ie-027
Squidco Product Code: 31806
Packaging: Digipack - 3 panel
Recorded at Reel To Reel Studios in Margate, Tasmania, Australia on July 27th, 2019, by Zarvan Kara.
Nick Ashwood-acoustic guitar
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• Show Bio for Nick Ashwood
"Nick Ashwood is a composer and performer of contemporary experimental music, from nipaluna/Tasmanian. Nick's practice explores the possibilities of the steel-string acoustic through means of just intonation, preparations, deep listening and harmonic space. Nick has performed and recorded with a diverse array of artists such as Laura Altman, Jim Denley, Robbie Avenaim, Annette Krebs, Amanda Stewart, Splinter Orchestra and Chris Abrahams, amongst others. Nick has toured throughout Australia and New Zealand and performed at a number of large festivals across Australia including Dark Mofo, Sound out, Mona Foma, The Now Now and Avantwhatever."-Nick Ashwood Website (https://nickashwood.wordpress.com/bio/)
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1. Unfolding/Overlay (2019) 38:30
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"Mesmeric displacements, chordal transmutations, long tones, latent tonalities, austere, immersive, realigning the senses, clear yet unstable, ephemeral yet tangible. Listening to Nick Ashwood's unfolding/overlay for the first time, I am struck by its restraint, its elegance, and the complexity that evolves from the most simple of elements and approaches: the tonalities generated by two, bowed, acoustic guitars.
This performance of the composition has been created 'live to tape' in two continuous, unedited recordings that unfold and overlay in relation to each other in real (recorded) time. This process is palpable in the listening experience, engendering an organic intimacy and vulnerability as the work develops. Using just intonation and a capo, Ashwood's tones splinter, multiply, abstract and coalesce into a wash of colour exchanges. As the piece progresses, these washes continuously evolve into new fields of harmonicity, forming paradoxical points that unfold vertically and horizontally in space and time.
Ashwood usually works within extended guitar technique traditions (as developed by Keith Rowe and others since the 1960s). However, in unfolding/overlay, he has chosen to utilise bowing techniques to explore immersive fields which can be generated from minimal resources.
Enfolded in the shifting tones, our ears are at the edge of themselves. As I listen to the work again, and again, I hear it differently each time: new intricacies and multiplicities that I hadn't fully absorbed emerge. The piece, itself, seems to expand one's experience of the moment as an unstable and ultimately unknowable interplay."-Amanda Stewart, August 2020
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