Following up from the no-input field recordings reviewed here, Seth‘s either in a spirit of intrepidly obtuse field recording, or taking the piss (either’s good, frankly). The no-input field recording method, foolhardy though it is to compress it to something so asinine as a method, involves getting a recording, making it record itself, and putting that recorder somewhere. Possibly a field.
Christ of the Abyss, my extensive research shows, is a crucifixion portrait by Archibald MacKinnon, a teacher on Eilean Dà Bhàrr, who painted it and didn’t tell anyone. And this record comes with on a business card CD with a wee negative of the painting. Something Hairdryer Communication do very well, in my experience, is packaging.
Christ of the Abyss by Seth Cooke
And the music is a neat little three minutes
Continue reading Seth Cooke – Christ of the Abyss / Seth Cooke and Dominic Lash – Canary […]
Four releases from a shiny new label devoted to something like sound-art, but not as asceptic and dry as that genre has a habit of implying. Hopefully, label head Seth Cooke is already known to Freq readers, but if not his is a formidable CV – sometime Freq writer, engine, petrol and tillerman for Bang The Bore, previously one of spazzy rock’s finest drummers (Hunting Lodge), an improviser of God knows how many outfits, episodic A Bander, contemporary composition performer (mostly on the Wandelweiser side of things), conceptual sound-art tickler and probably a raft of things I’ve forgotten.
Before I start cooking the meat of the corpus, it’s worth pointing out that the label, thus far at least, is pretty concept-heavy. Concept is often a perilous matter – sound-art/experimental/whatever tends to rest atop well-articulated concepts but if there’s not much attention paid to whether or not it’s worth following through
Continue reading Every Contact Leaves a Trace label feature (Seth Cooke/Henry Collins/Ignacio Agrimbau/Dominic Lash and Will Montgomery) […]