Reuben Son - Lesslessness (C61)
Tracklisting:
A - Voidance
B - Lesslessness
Pro-dubbed and imprinted edition of 100, released by Razors & Medicine.
The source material for Voidance comes from a live-miked improvised session largely comprised of real-time tape manipulations by hand, ranging from more subtle noise-shaping to the more dramatic almost play-pause gesticulations, all of which then go into the time-lagged feedback loops, which accumulate in texture over the course of the session. I see this more or less an extension of what I was doing on the first two Private Chronology tapes, except done without external sources (i.e. guitar), and with the addition of tape echo. The audio was then speed-shifted up and down by a ratio equivalent to a semitone to create two additional tracks, which were then mixed in with the original session, providing ample avenue for happy accidents. On the flip, the titular 'Lesslessness', is a process piece in which five separate field recordings (of banal things like the ambiance of my fire escape, the server room at my workplace, my commute, etc.) were played out and re-recorded live in my studio to capture feedback lines contingent upon the sonic content of each field recording. The resulting source/source+feedback pairs were then superimposed on top of each other to present the final mix, in which the slowly mutating feedback lines naturally weave in and out of resonant clusters above the blurry field recordings, yielding a din such that, upon sufficiently loud playback on a good tape deck, you should experience variously beating pitch/timbre combinations determined by the orientation and position of your ears in the feedback tone field as it fills your listening room.
Tracklisting:
A - Voidance
B - Lesslessness
Pro-dubbed and imprinted edition of 100, released by Razors & Medicine.
The source material for Voidance comes from a live-miked improvised session largely comprised of real-time tape manipulations by hand, ranging from more subtle noise-shaping to the more dramatic almost play-pause gesticulations, all of which then go into the time-lagged feedback loops, which accumulate in texture over the course of the session. I see this more or less an extension of what I was doing on the first two Private Chronology tapes, except done without external sources (i.e. guitar), and with the addition of tape echo. The audio was then speed-shifted up and down by a ratio equivalent to a semitone to create two additional tracks, which were then mixed in with the original session, providing ample avenue for happy accidents. On the flip, the titular 'Lesslessness', is a process piece in which five separate field recordings (of banal things like the ambiance of my fire escape, the server room at my workplace, my commute, etc.) were played out and re-recorded live in my studio to capture feedback lines contingent upon the sonic content of each field recording. The resulting source/source+feedback pairs were then superimposed on top of each other to present the final mix, in which the slowly mutating feedback lines naturally weave in and out of resonant clusters above the blurry field recordings, yielding a din such that, upon sufficiently loud playback on a good tape deck, you should experience variously beating pitch/timbre combinations determined by the orientation and position of your ears in the feedback tone field as it fills your listening room.
