Phil Niblock
Touch Three

18,79 EUR

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CD
Touch
Release date: 24/Apr/2006

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Sales Rank:	#764 in Minimal Music #34810 in Classic

Style:	Minimal Music

Product No.:	1758655

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Content:

Details / Tracklist:

1.1 Sethwork

1.2 Harm

1.3 Lucid Sea

2.1 Parker's Altered Mood

2.2 Zrost

2.3 Not Yet Titled

3.1 Valence

3.2 Alto Tune

3.3 Sax Mix

Number of discs:

Description:

Touch Three by Phill Niblock, released 24 April 2006. This version of Touch Three comes as a 3xCD. -

This is Phill Niblock's third release on the Touch label. Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968's barricade hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist. His influence has had more impact on younger composers such as Susan Stenger, Lois V. Vierk, David First, and Glenn Branca. Touch Three is minimalism in the classic sense of the word, if that makes sense. Niblock constructs big 24-track digitally-processed monolithic microtonal drones, and the result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti's choral works, but a little more phased. These nine pieces were made from March 2003 to January 2005. They were all made (except "Sax Mix") by recording a single instrument with a single microphone. The recordings were direct to the computer/hard disk, most of them using a Power book G4, Pro Tools, an M-box and an external firewire drive. The resulting mono sound files were edited to remove breathing spaces, leaving the natural decay of the tone, and the attack of the subsequent iteration of the same tone. Each note was represented by several repetitions, perhaps ten for each tone, of about 15 seconds duration each. Each piece uses a few tones. A simple chord, perhaps. Additional microtonal intervals were produced in Protools using pitch shift. The pieces were assembled in multitracks, usually either 24 or 32 tracks.

"These nine pieces were made from March 2003 to January 2005. They were all made (except "Sax Mix") by recording a single instrument with a single microphone. The recordings were direct to the computer/hard disk, most of them using my Powerbook G4, Protools, an M-box and an external firewire drive. The resulting mono sound files were edited to remove breathing spaces, leaving the natural decay of the tone, and the attack of the subsequent iteration of the same tone. Each note was represented by several repetitions, perhaps ten for each tone, of about 15 seconds duration each. Each piece uses a few tones. A simple chord, perhaps. Additional microtonal intervals were produced in Protools using pitch shift. The pieces were assembled in multitracks, usually either 24 or 32 tracks. The recording environment varied from a simple apartment in Berlin (Ulrich Krieger's) to a very large hall used for symphony orchestra performances and recordings, with a sizable audience space (Deutschland Radio, Cologne). The recordings were generally done quite closely miked. One hears only the sound of the instrument. There is no electronic manipulation in the recording, the editing of the tones, or in the mix. The only changes to the recorded tones are the pitch shifts to create microtones. The microtones are doing the work." Tones for "Harm" (March 18, 2003) recorded in the Orpheus Institute in Gent, Belgium, direct to hard drive; piece finished in Berlin and premiered at Maerz Musik Festival; commissioned by Maerz Musik. "Sethwork" and "Lucid Sea" commissioned by Deutschland Radio in Cologne, Germany; the recording of the samples was done at Deutschlandradio Studios in Cologne. "Sethwork" (2003) constructed in the Experimental Intermedia Studios in New York. "Lucid Sea" (August 8, 2003) constructed in Gent. Tones for "Parker's Altered Mood, aka, Owed to Bird" (2004) and "Alto Tune" (2004) recorded in Berlin in Ulrich Kreiger's apartment. Tones for "Zrost" (2004) recorded in Martin Zrost's work room. Tones for "Not Yet Title

No. of tracks:

Manufacturer No.:

TO69

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