Deep Listening Band - Great Howl At Town Haul - 2012

Deep Listening Band / Great Howl At Town Haul
Жанр: Modern Classical, Experimental, Ambient
Страна-производитель диска: USA
Год издания: 2012
Издатель (лейбл): Important Records
Номер по каталогу: IMPREC359
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 1:02:07
: CD
: нет
Треклист:
1. Town Haul 14:54
2. Great Haul 12:38
3. Great Horned Howl 19:02
4. Growl Howl 15:34

Лог создания рипа

Содержание индексной карты (.CUE)

Об исполнителе (группе)

Pauline Oliveros' best-known and influential work is 1989's Deep Listening, recorded in a massive, reverberant cistern. In the years since that landmark effort, Pauline has founded The Deep Listening Institute, the Deep Listening Band, and performed many mesmerizing concerts in her unending crusade to explore the untapped potential of space, place, and (of course) reverberation. These two previously unreleased albums capture some of the final recordings her band made with (the late) long-term collaborator/pianist/electronics wizard David Gamper. Although both performances occurred over the course of a January 2011 Seattle residency, they almost sound like two completely different bands: Octagonal Polyphony luxuriates in sublime, slow-motion drones while Great Howl becomes pretty nerve-jangling.

Об альбоме (сборнике)

Releasing actual albums has always been something of a tricky and flawed situation for the Deep Listening Band, as the way that sound is experienced is a very large part of their art and that can be quite site-specific. Some aspects of their vision translate well, such as the 45-second reverb of Deep Listening's cistern or the way that overlapping layers blur together and interact. However, approximating the omnidirectional immersion of an actual concert seems pretty damn impossible due to the unusual number and location of the speakers involved. And then, of course, there is the added impact of the band's self-designed Expanded Instrument System (EIS), which I do not understand at all, but seems to mess with both time and space and allow players to perform in the past, present, and future simultaneously. The gist is that it sounds like the band is a hell of a lot larger than it actually is (a trio). Trombonist Stuart Dempster actually states in the liner notes that countless hours of listening, re-listening, mixing, and remixing managed to capture a hint of the experience and that seems like a plausible estimate to me. This music doesn't strike me from all directions at once, but it undeniably has a unique presence and power. It doesn't hurt that the music itself is pretty amazing too. Bell Dance, the first of two pieces on Octagonal Polyphony, is appropriately based upon a rippling lattice of twinkling, chiming bells. It is not especially dance-able though, as it is filled out by lengthy sustained tones from woodwinds and Dempster's trombone. Gradually, however, it becomes more and more disorienting, as occasional dissonances start to creep in and something that sounds like a plucked violin begins playing an insistent motif that makes it all sound like a badly derailed Steve Reich piece. While it undeniably achieves an appealing degree of complexity and unpredictability, it gets a bit too bombastic and trombone-heavy for my liking at about the halfway point. It regains some momentum briefly though, as a snarled surge of didgeridoo heralds quite a cacophonous interlude. The last five minutes or so end up being pretty weird, jumbled, and dissonant, leaving me a bit conflicted about the piece. I think the actual content is ultimately a bit lacking, but it is so dense, multilayered, and dynamic that it almost overcomes that...almost. I definitely give them credit for making didgeridoos sound scary and heavy though. Dreamport is built upon a low, undulating throb and some shimmering, uncomfortably dense accordion harmonies. Given the involvement of the EIS, it is pretty impossible to figure out who is playing what and when, but the piece quickly becomes incredibly dense and vibrant with overlapping textures and overtones. Though I can pick out Dempster's trombone and some very ominous didgeridoos, it achieves such a quavering, skittering immensity within minutes that individual instruments become irrelevant. More importantly, it is an absolutely wonderful piece of music–I could not be happier that it unfolds for 22-minutes and found myself gradually turning it up louder and louder. While Dreamport ostensibly adheres to the structure of drone music, it is so massive, dynamic, and uneasy that it bears almost no resemblance to most other work in the genre. To a certain degree, it captures the Deep Listening Band at their sustained best, but even that pales a bit when compared to the more disturbed and visceral companion effort discussed below. ~ anthony d'amico, brainwashed
The Deep Listening Band are legendary American composer Pauline Oliveros (accordion, little instruments, voice), Stuart Dempster (percussion, trombones, didgeridoo, voice, cowbell, whistles, little sounds, breach conch) and David Gamper (percussion, flute, piano, toys little sounds, breach conch) and these albums, released to celebrate Oliveros’ 80th birthday, complete a quadrilogy of her releases together with “Then and Now” (also with the Deep Listening Band) and “Primordial/Lift” (with a larger group of musicians). “Great Howl at Town Haul“ and “Needle Drop Jungle” are both result of the band’s January 2011 residency and concerts at Seattle Town Hall which produced enough material for both a CD and an LP. The concerts were equipped with a special sound system using eight loudspeakers and four subwoofers surrounding the band and audience so that they had the impression that the sounds came from above and below them. Moreover, the Deep Listening Band is not only about making music, it also transports a philosophy, namely Deep Listening, which is described by Oliveros as “listening in every possible way to everything possible to hear no matter what one is doing.” The band’s website says that Deep Listening “explores the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive - of listening”. ~ martin schray, freejazzblog

Состав

Stuart Dempster - breath conch, didjeridu, contrabass trombone, trombone, toys, little sounds, duck call, voice, sing-a-ma-jigs
David Gamper - breath conch, piano, flutes, toys, little sounds, sing-a-ma-jigs
Pauline Oliveros - roland v accordion, sing-a-ma-jigs, voice, little instruments