Ecllipses (with Matt Marble)

CD, 48 min.
And/OAR and/30
Composed 2002 – 2005, released 2008

Rustling and jumbled textures, rhythmic rolling, ideophones, free exchange, blind layering, room tone, micro-envelopes, “creatureality”, re-recording, auditory fatigue.  Sources include fabric, pebbles, various drums and rattles, upright bass, a down comforter, grass, tin foil, radio static, glass spheres, bowed wires, scraped autoharp, voice, moose call, recorder, tuning fork, feedback, oscillator, cello, hammer dulcimer, field recordings of graveyards and parks in Portland OR.

Aprupture is where holes find their way into a sound-material, lurching along, burrowing in. If jumping, stomping or skipping through, an incessant regulation is destroyed. The pulse is a rocking wooden boat with heavy ropes that creak and sway. An “outside force” – the rise and fall of waves, determines it. The creation of aprupture leaves a series of places where multiple transparencies do not entirely obscure a ground. In placing them together in time, there is a control of layers but not of correspondences. Tonality is a byproduct of production. Rhythm is an accident and correspondence is circumstantial. The ecllipses as a dotted pattern clues the mothod of intermesh. Woven into a sheet, the sheet being torn and rumpled, then becoming large enough to include a landscape. Materials resting one upon another. Or particulate, taking up form. Density as measured – the spaces between this suspension. Or woven as a process of length, taken over with treatment time, manually applied. The fabric resulting, with texture determined by scale, opening up with proximity. A composition curdles in the ear.
{from the liner notes by S.N.}