tag:blogger.com,1999:blog-28154988.post2600561196349398128..comments2024-03-26T01:59:52.206-04:00Comments on Just outside: Brian Olewnickhttp://www.blogger.com/profile/08567239067604835372noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-28154988.post-19120127424167433642011-07-24T06:30:02.004-04:002011-07-24T06:30:02.004-04:00I shall take your word for it Jon :) It was a fun ...I shall take your word for it Jon :) It was a fun thing to record, ooh this does this, that does that, how is that doing that, I felt very much like a child. It was a very similar process to the 'No Islands' disc with Kostis, Sarah, and Stephen, nothing felt well worn or familiar. <br /><br />Differing degrees of interpretation are always intriguing. It goes without saying that I wouldn't compare "green rings...' to 'contact' or 'salon...' and on a side, I would like to exist solely in the comfy room of intrigue and openness that comes when exploring something that is close to utterly new, but then I will always be carrying baggage around, my previous concerns and the aesthetics that I have picked up along the way, and so the structure that was mentioned, is indeed climbing all over degrees of absence and presence. I am always there in the recording, even when I am sat still, the turntable is rotating and I am gingerly holding a wire brush above it, looking at the grooves of the record, as I still use records, they are very nice surfaces for such things, so I feel that I am present just as much when I am not playing as when I am, so I am always playing, for however long that disc lasts for, I would say.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-28154988.post-54120148154208661482011-07-22T19:42:31.801-04:002011-07-22T19:42:31.801-04:00thanks for the answer, Patrick! I thought this was...thanks for the answer, Patrick! I thought this was destined to be another attempt at dialogue that lies dormant...<br /><br />I just listened again, and I mostly retract my earlier statements. what threw me was the five minutes or so starting around 15:30, which is much more sparse than the bulk of the record (except for the start/end), and which I'd earlier thought served as a dividing point between two different areas of exploration. but this time through, those sections seemed more connected to each other, so maybe I just needed more listens. <br /><br />good to hear you might be coming to the US!Jon Abbeyhttps://www.blogger.com/profile/16554860803665562805noreply@blogger.comtag:blogger.com,1999:blog-28154988.post-90915101333548422882011-07-22T19:03:25.431-04:002011-07-22T19:03:25.431-04:00I love the fact that we now have two CD labels nam...I love the fact that we now have two CD labels named after The Unnameable. There should be one in every country!Richard Pinnellhttps://www.blogger.com/profile/00168522717135806763noreply@blogger.comtag:blogger.com,1999:blog-28154988.post-52880189453121053882011-07-22T10:08:11.114-04:002011-07-22T10:08:11.114-04:00Hi Jon and Brian.
Firstly thanks very much for t...Hi Jon and Brian. <br /><br />Firstly thanks very much for the kind review Brian. i'm hoping to be in America next February/March, it'd be nice to meet you if the opportunity arises at a show.<br /><br /> Jon, I haven't listened the disc in question for quite some time, and I'm in Estonia at the moment so I can't rectify this for atleast another week. However, i feel this is a good thing, as I can ask you about the division you spoke of without any pre guided notions, open to whatever you say. <br /><br />i recorded the piece because Kosuke, who runs nadukeenumono - which is the japanese translation for the title of beckett's the unnameable for anyone interested, had initially asked if I could produce something along the lines of Bestiaries, which I didn't want to, so it gave me an excuse, it appears I needed one, to play the turntable, which I had only been given a few days before. <br /><br />The fact that i was recording for a potential release was on my mind, and i think i restricted myself to the two implements, contact mic and wire brush, because i didnt want to get bogged down in the details, like i almost always do. But as far as structure goes, it feels like it was predominantly intuitive, or blind, i dont mind either way, so you can see why im intrigued at your interpretation. <br /><br />Perhaps I'll listen back to the disc and go, oh ye, of course, but I'd still very much like for you to elaborate on the areas/approaches you mentioned, if you care to. <br /><br />Thanks both.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-28154988.post-91367478247384740852011-07-15T14:24:43.439-04:002011-07-15T14:24:43.439-04:00I think 'Salon de Sachiko' might be a clos...I think 'Salon de Sachiko' might be a closer reference point for the Farmer than 'contact', that was one that occurred to me earlier.<br /><br />I liked the Farmer and think it's one of the stronger releases I've heard this year, but I'm surprised that neither you nor Richard P brought up my primary impression from my few listens so far, which is that it seems to me to be divided into two parts, the first in which Farmer focuses on one area and a second in which he focuses on a different area. I was left wishing that he had mixed the two approaches/palettes throughout, then I think the comparison to 'Salon de Sachiko' or something else along those lines would be more valid.<br /><br />(apologies for the somewhat vagueness of this post, as I haven't heard it in a week or so and am not playing it now, but going from memory)Jon Abbeyhttps://www.blogger.com/profile/16554860803665562805noreply@blogger.com