Archive for Gentleman Echo

RECORDING | The Gentleman Echo Chamber Soloists – Islands Shouting Lies

Posted in recordings with tags , , , on June 10, 2015 by dukewisdom
The Gentleman Echo Chamber Soloists - Islands Shouting Lies

The Gentleman Echo Chamber Soloists – Islands Shouting Lies

Let’s see if I can make sense out of this.

This is one of those projects (I’m sure you know the type) that started as a spark of inspiration sometime in the early ‘00s, fell by the wayside, languished on obscure disc drives, was resurrected, changed identities, then repeated the process. And now, due to public demand and label pressure (lies), here at last is Islands Shouting Lies by the Gentleman Echo Chamber Soloists. (Follow the link to listen and download for free.)

What is the project all about and who are the Chamber Soloists? Glad you asked. Islands Shouting Lies is pure aleatoric music, which is to say that aspects of the pieces are left to chance. The gist of the venture is the pitting against each of other of guitar improvisations governed only by an approximate length. Each “Iteration” features two or more solos which are simply superimposed. The interplay that results is entirely synthetic—what Zappa called “xenochrony.” If you’re into this type of thing, the outcome is frequently fascinating.

About the Soloists and their contributions:

“One Continuous Length of Rubber Hose” is a bizarre improvisation by Omaha, Nebraska’s Dave Benscoter. Listening to the piece by itself might make you itch.

“Remember, To a Tick You are Food” by Mike Stover of Kansas City, Missouri is the oldest component of the Islands—older than the project itself, in fact. This fretless guitar improvisation was inspired by a book on Lyme disease, in title if not performance.
(Mike plays steel guitar among other things for KC’s outstanding The Grisly Hand. Give them a listen.)

“On Fire Tonight” comes from Chicago’s Matt Silcock. At some point in the years between this project’s conception and execution, Matt’s original file was corrupted, so what’s here is a mutated, chopped & screwed version of the authentic item. Even then it had to be rescued from a flattened mix owing to (wait for it) a hard drive failure, hence its unfortunately sparse appearances here.

“Choir in Bondage” comes courtesy of Ben Levin from Boston. From the sparing amount of time I’ve been able to spend with Ben, I’d say that “Choir” is an absolute manifestation of his personality—intelligent, adventurous, and humorous.
(You must check out Bent Knee and the Ben Levin Group.)

“Whatever You Say, Man” is by Jorge Arana, also of Kansas City, and was the final improv to arrive. I have wondered aloud if the title was Jorge’s reaction when I explained this project and asked him to contribute. I was certain he had the appropriate acumen for Islands and “Whatever” does not disappoint.
(Be sure to check out the dazzling Jorge Arana Trio.)

“Bewildered” is by Troy Van Horn … that’s me. This track, like “On Fire Tonight,” was lost in the Great Data Failure of 20xx. Oh well.

“Lab Rat 2” is also by me. It’s a recent improvisation to replace the above. I used my ca. 2006 Les Paul studio through an Akai Headrush for added graininess.


Here is how the tracks meet up. Unless my spreadsheet has gone afoul (a distinct possibility), the first piece listed is in the left channel.

Duets
‣Iteration 001: Lab Rat 2 vs. One Continuous Length of Rubber Hose

‣Iteration 002: One Continuous Length of Rubber Hose vs. Remember, To a Tick You are Food

‣Iteration 003: Remember, To a Tick You are Food vs. Choir in Bondage

‣Iteration 004: Choir in Bondage vs. Whatever You Say, Man

‣Iteration 005: Whatever You Say, Man vs. Lab Rat 2

‣Iteration 006: On Fire Tonight vs. Remember, To a Tick You are Food

‣Iteration 007: Choir in Bondage vs. One Continuous Length of Rubber Hose

‣Iteration 008: Whatever You Say, Man vs. Remember, To a Tick You are Food

‣Iteration 009: Remember, To a Tick You are Food vs. Bewildered

‣Iteration 010: Whatever You Say, Man vs. One Continuous Length of Rubber Hose

‣Iteration 011: Choir in Bondage vs. Lab Rat 2

Trios
‣Iteration 012: Lab Rat 2 vs. One Continuous Length of Rubber Hose vs. Remember, To a Tick You are Food

‣Iterattion 013: On Fire Tonight vs. Remember, To a Tick You are Food vs. Choir in Bondage

Kitchen sink
‣Iteration 014: All hands. Every track at once. (It’s really far too much. You probably shouldn’t listen to it.)


Some of these gents know each other; others have never heard of one another. This is part of what I consider to be the magic of the project.

Regarding the title: In “The Light That Failed,” Rudyard Kipling said, “We’re all islands shouting lies to each other across seas of misunderstanding.” That seems appropriate to the proceedings. Quoting Kipling? What is this lofty bullshit? Well the whole damn thing is pretty lofty, isn’t it?

Many thanks to my co-conspirators, Dave, Mike, Matt, Ben, and Jorge for humoring me in this preposterousness. Thanks to Mason Fann for Headrush and Yeti visitations. Acknowledgement to Rex Woodwind.

Realized at The Prussian Film Commission.

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RECORDING | Gentleman Echo – Absolute Ozone Robot

Posted in recordings with tags on January 23, 2015 by dukewisdom
Gentleman Echo - Absolute Ozone Robot

Gentleman Echo – Absolute Ozone Robot

Please listen to and/or download the album at Bandcamp.

Program notes and self-indulgent minutiae

According to the date on the folder, Absolute Ozone Robot was created in late December, 2012. Then it was mostly neglected for the next 23 months, occasionally receiving daylight and water. Finally I got tired of the project hanging over my head like a small, festering planet peopled by creatures missing arms and feet, and so on. And in December 2014 (with rusting apparatuses finally removed from my literal and spiritual driveways) I made the push to complete the thing. Yeah, so, here it is.

Absolute Ozone Robot (the album’s third official title) was realized entirely on a MacBook, utilizing a borrowed microphone, some software of dubious origin and every guitar I own. Here’s a guided tour:

01 “Pink Opera Glasses”
Wherein an atmosphere is established. Wouldn’t you like to come in?

02 “Gold Coin Eyes”
And, welcome. This spacious construction was intended to be the first movement of a single 50-minute piece. Maybe next time. Nestled among the harmonized feedback and drifty percussion there’s some sound that reminds me of the shitty werewolf in Kiss Meets the Phantom of the Park. Not even sure what that is anymore. Anyway, this track introduces the first of many field recordings grafted into the music, in this case some ambient racket from the Washington D.C. subway as captured by my phone. There is no record of the tuning introduced at 2:44; guess I won’t play this one (or anything else here) live. “Gold Coin Eyes” (name borrowed from a phrase in Bradbury’s The Martian Chronicles, I believe) was one of the first pieces recorded and one of the last finished, the sawtooth-y synth part being added in the 11th hour.

03 “Filthy Science”
That’s my idea of a I-IV-V riff. (Right here there used to be some self critical, second guessing talk. Instead, here’s a quote from John Cage: “The first question I ask myself when something doesn’t seem to be beautiful is why do I feel it’s not beautiful? And very shortly you discover there is no reason.”) The outro introduces the idea of overlapping rhythms which will be prevalent throughout, along with some found sound.

04 “Black Velocities”
Title phrase lifted from some other sci-fi book. The song’s main riff was conceived at double the speed, but reveals more of its facets as it came to rest. I went full on “fake Michael Schenker” in that middle harmony section. Forgive me. While many of the guitar solos contained here were very (too?) stream-of-consciousness, this one was mapped out.

05 “Migration Hypnosis”
Most of the tracks on AOR were composed organically and arranged via editing: A progression, riff, or beat would suggest another part, then a complementary section, and eventually a “song” would take form. “Migration Hypnosis,” on the other hand, was totally written out out on paper beforehand. Ehhhr, with the exception of that middle section. And about that: Before I realized what was happening, I wound up with several pieces that include “weirdness freakout bridges,” interrupters that send the proceedings off into a confusing miasma of tangled thoughts (not unlike a conversation among many I know). Call it a motif.

06 “Here to Identify the Head (featuring Forklift Chase)”
I consider this the centerpiece of the album, a sun around which the 11 neighboring tracks revolve. I guess I was thinking Fripp/Belew King Crimson when assembly of this prickly tangle of polyrhythmic parts began. I’m very pleased where it all went. The “Forklift Chase” section was one of the final bits recorded, a late addition to the song and a way to take it in another direction (and a chance for another polyrhythm—5/4 versus 4/4 in this case, for those scoring at home). Regarding that “Forklift” riff: I knew what the atmosphere of notes would be but was unsure about the rhythmic phrasing. Then I was teaching a student the bass line to “Blood & Roses” by The Smithereens and … the rest is history.

I had the worst time mastering “Head.” A few failed runs told me to return to the original track for a remix/EQ, which eventually did the trick, such as the trick is. Incidentally, I was making an A/B comparison between these tracks and Culture Clash by The Aristocrats. That thing is mastered like a mother and I lose—but it was a great benchmark.

Another side note: About three days before I finished mixing these tracks a friend made some passing comment to the effect of, “do they even do fade outs on records anymore?” (I think someone had put on Toto IV – seriously). Well, AOR, perhaps owing to its studio-born nature, is full of fades. So there you go.

07 “The Traveling Ear”
I had just taken possession of a Joyo Classic Flanger pedal.

08 “Soil Sample”
It’s just a little ol’ asylum blues stomp about contaminated earth. A lot of the guitars on AOR were recorded at a fairly low volume and with me positioned fairly near the microphone. The result is that sometimes there’s an interesting blend of the sound coming out of the amp with the actual sound of the unamplified strings in the room. That texture can be heard here on both guitar parts.

09 “The Myth of Shared Hydraulics”
The David Byrne/Brian Eno album My Life in the Bush of Ghosts was a subliminal driver for this one. And the brief clean tone guitar solo contains an accidental reference to “Total Mass Retain” by Yes, so we’re all over the map here. When the melody is restated at 1:44 it has been shifted by an eighth note on purpose. I think it’s cool how it adapts in the busy environment. Midday church bells from Astoria, Queens can be heard during the fade.

10 “A Radar is Born”
Now isn’t that a pretty chord? “Radar” was born with the B section riff, which haunted by brain while driving for hours on I-29 during the late summer of 2014. The entire song is another example of the slippery rhythms that permeate AOR: The feel is slightly unhinged, yet not overtly nuts like some of the other dance numbers herein. The guitar solo section features a bed (queen size with paisley comforter) of harmonized bass, making it a distant relative of “Walk on the Wild Side.”

11 “Femur Simulator 2”
Winding down now. This one came to life while visiting some friends’ lake house. As such I consider it a strange souvenir of the Ozarks. “FS2” contains another freakout bridge, this one featuring some more found audio along with a sample of “The Frown Returns” from the Gentleman Echo album Research Arc.

12 “Disembarker X”
“Disembarker X” is the one who departs, who steals away into the amethyst evening, possibly without finishing his or her drink (but probably doing so). “Disembarker X” is the sound of Absolute Ozone Robot signing off.

Thanks and a tip of the space helmet to:
Venus for enduring the rumbling and clanging emanating from my office; Mas for the Yeti; Benny for Fender delivery and everything always; Ryan for enduring the mixing process; Rex Woodwind for soup; The Great Vehicle; Alberto and Dahveed from Giant Deer Bear; Duke Wisdom; and to the mysterious “Chaucer” who painted the version of Paul Klee’s “Senecio” that serves as the album cover—purchased in an antique mall in Harrisonville, MO. WHAT DOES IT ALL MEAN?!

Finally: This album, of course, is dedicated to Jim Van Horn, 1947-2014. I used a few of his guitars on here and their Juju made it all the better.

Realized at The Prussian Film Commission.