The folks over at Touch have been kind enough to include the recording from my performance at the Church Organ at the Unitarian Church in Cambridge as part of their Touch Radio series.
You can access the episode here
The Liminal’s review of the Cambridge Festival is also here.
Got a few copies of this new cassette by myself and Lawrence English as Holy Family. Fairly punishing synth action recorded mostly when I was down in Australia in 2010/11 after our tour there with Tujiko Noriko. Part of one track also recorded at Noriko’s place in Paris in April 2010.
£5 + postage if you want one. Also available at upcoming concerts whilst stocks last.
Holy Family - A Rising Tide of Halos (CS)
I’ll be playing this Wednesday – 9th May 2012 – at Cafe OTO in London ahead of sets from Petrels and Geoff Mullen who is over from the USA.
I’ll be playing modular synth and amplified reed organ in a much less subtle revision of my set in Cambridge last weekend. The recording of that will be available soon.
Photo by Norman Ipsmael
update: I got a presumed lost package returned in the post with a few of these. I’ve decided to only sell these copies in person at concerts.
Thanks for visiting.
I’m away from 21 December – 16 January. Any orders will ship after I get back. Only a handful of ‘Automatic Music’ LPs left that aren’t already spoken for.
Also, looking for shows in The Netherlands and/or Belgium around 10-19 February. Please get in touch at john-at-room40-dot-org if you have any ideas.
Best,
John.
Live at Studio 180 for Basement Tapes Night… 26 November 2011 by johnchantler
Room recording by Jamie Quantrill at Studio 180, Lambeth Road, London on Saturday 26 November 2011.
Modular Synthesiser -> Moog Ring Modulator -> VOX guitar amplifier
Thanks to Jamie & Bradford Bailey for making it happen.
Studio 180
180 LAMBETH ROAD SE1 7JY
Saturday 26th November 2011 | 7.30pm
FREE ENTRY.
This LP collects two different pieces recorded in December 2010 and sometime in 2009 – both offering different fields of surface stasis/hidden activity…
The first, ‘Automatic Music for Erik Griswold’ was recorded in Bundaberg, Australia using a ‘Eurorack’ modular synthesiser plugged into a borrowed guitar amplifier. It was made in preparation for a concert in Osaka in January 2011 organised by Tetsuya Umeda and was an experiment in using the synthesiser without any external controller (I’d just been touring with Tujiko Noriko and Lawrence English and had grown accustomed to playing the synth with a Roland SH101 as keyboard/sequencer). It is named for Erik Griswold, a pianist living in Brisbane, Australia, whose exceptional ‘Wallpaper Music’ recording was part inspiration for this work.
The second side is the older piece. Recorded at home in London, UK using two reed organs (one Hohner, one Busilaccio) and recorded to an Akai GX4000D 1/4? reel-to-reel. This is my homage to the lineage of pieces focussed on frequency beating cycles that most actively crossed my radar with Jim O’Rourke’s ‘Two Organs’. Jokingly a ‘cover’ of said piece, the working title for the recording was ‘Biting The O’Rourke That Feeds’ before I later settled on nicking the title of a rather lovely upbeat Tenniscoats song as a sly nod to the seasonly themed (and vastly superior) records of my good friend and ongoing inspiration Lawrence English who mastered the record and to whom I owe many ongoing thanks…
Pressed in an edition of 110 LPs with a two colour screenprint sleeve made from archival grade photokraft paper using a drawing by Marcus Cope.
SOLD OUT!!!
Still available:
‘The Luminous Ground’ LP
£11 + pp (UK – £2.50 / EU £3.50 / ROW £7)
‘The Luminous Ground’ LP + For Barry Ray ‘New Days’ LP
£20 + pp (UK – £3.00 / EU £4.00 / ROW £7.50)
Alternatively, any of the above LPs can be collected in person for £10 each (cash) from Cafe OTO, London by prior arrangement.
New review of The Luminous Ground appeared on The Silent Ballet:
There is also a review by Rob Young in the latest issue of THE WIRE magazine:
“Hearing this music for the first time has a similar impact to the first exposure to Oval’s Systemisch from 1994, or the early Sähkö recordings like Ø’s Metri, in that it has a beauty partly derived from having travelled beyond the reach of human influence”
