This is the first volume of my Automatic Music series. I originally released this on LP in an edition of 110 in 2011. The cover drawing is by Marcus Cope. Erik Griswold is a fantastic pianist living in Australia. I recommend this recording of his. The title of the second track is taken from a song by my friends Tenniscoats.
Now available via bandcamp for streaming or as a ‘pay-what-you-want’ download.
This tape is now ‘sold out at source’.
I think I have a couple of copies left somewhere. Should be with me on the upcoming EU tour if I can find them! ALL SOLD OUT, SORRY.
I’ve put the set up on Bandcamp for free streaming or paid download:
” ‘Automatic Music: Volume II’ is the mesmerising follow-up to John Chantler’s self-released first volume, originally released in 2011, the same year as his ‘The Luminous Ground’ LP was charted in The Wire’s annual top 50. Two extended pieces for synthesiser/organ yield contrasting results on each side. First, ‘For Nuno’ is the more melodic of the two, with melting, kinetic modular scree and wheezing organ motifs seemingly attempting to untangle a conundrum which only gets more perplexing across its 20 minute lifespan. Secondly, the lustrous drones of ‘No Poetry’ unfold with the concentrated, hypnotic subtlety of a Phill Niblock or Eleh piece, all glassy, resonant harmonic overtones and warm sweeping bass oscillations that have us hooked for the 20 minute duration.”
Purchase from BoomkatBoomkat Sold Out, but you can order here.
First Volume of Automatic Music. Released as a limited edition of 110 Vinyl LPs with two colour screenprint sleeves. Illustration by Marcus Cope.
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.
‘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.