1) Gordon Ashworth, “Suite for Broken Sex” S.T.L.A. (Orindal)
2) La Monte Young and Terry Riley, “Concerto for Two Pianists and Five Tape Recorders” (Live at Hertz Hall, 1961)
3) Tor Lundvall, “Grey Life” The Mist (Eternal Autumn Auditions)
4) Patrick Cowley, “Seven Sacred Pools” School Daze (Dark Entries)
5) Iasos, “Crystal Petals” Celestial Soul Portrait (Numero Group)
6) Brian Eno, “Tal Coat” Ambient 4: On Land (EG Records)
7) Cabaret Voltaire, “Silent Command” #7855 (Electro Punk to Techno Pop, 1978-1985) (Mute)
8) Solaris, “Alien Intrusion” The Waves of Evernow (Numero Group)
9) Mike Cooper, “Pharaoh’s March” Trout Steel (Paradise of Bachelors/Dawn)
10) Can, “True Story” The Lost Tapes (Mute)
11) Edvard Graham Lewis, “The Eel Wheeled” All Under (Editions Mego)
12) OOIOO, “Gamel Kamasu” Gamel (Thrill Jockey)
13) Cloud Becomes Your Hand, “Rat Jumps” Rocks or Cakes (Northern Spy)
14) Animal Collective, “Infant Dressing Table” Here Comes the Indian (Paw Tracks)
15) Nathan McLaughlin, “A4” Line Drawings (Desire Path Recordings)
16) Uncertain, “Alpha +Omega”
Tag Archives: Nathan Mclaughlin
1) Gordon Ashworth, “Suite for Broken Sex” S.T.L.A. (Orindal)
1) Nathan McLaughlin – “The Window So Cold” (Hudson)
2) SoundBarn – “Mont-Blanc” (Valatie)
3) Sun Spells – Ammaravamma” (Ithaca)
4) Salem:1976 – “Prince of January (Origin of Life pt. 4)” (Saugerties)
5) Mandala Channel – “Rummage Fine” (Buffalo)
6) Jeremy Nathan Dziedzic – “69°39’59″N 37°34’57″E” (Syracuse)
7) Grab Ass Cowboys – “Bon Jovi-4-22-13-The Hits” (Albany)
8) Alex Durlak – “The Return” (Toronto)
9) Spike and Horn – “Grace Vandals” (Buffalo)
10) Sparklebomb vs. Kristachuwan – “R. Javara” (Buffalo)
1) Nathan McLaughlin, “The Window So Cold” The Upstate Soundscape Vol. III: Winter 2014
2) Hobo Cubes, “Infatuation” Structures in Stasis (Debacle Records)
3) Patrick Cowley, “Primordial Landscapes” School Daze (Dark Entries)
4) Spike and Horn, “Grace Vandals” The Upstate Soundscape Vol. III: Winter 2014 (kyle butler)
5) in-studio mix:
Iasos, “Crystal White Fire Light” Celesital Soul Portrait (Numero)
“Ultimate Thunderstorm” Environments: Totally New Concepts in Sound (Syntonic Research)
Adrian Rew, “3/31/13 – Horseshoe Casino, Cleveland, OH” Slot Machine Music (Ergot)
Nichaolas Szezepanik, “Not Knowing” Tangents-001 (Desire Path Recordings)
Eli Kezler, “Untitled” Livingston (Rare Youth)
Mike Parker, “Voiceprint: Voice Three” Dispatches (Geophone Records)
Northern Spy Records, “Thanksgiving Dinner”
Aidan Baker, “Pure I” Pure Drone (Beta Iactam Ring Records)
Janeck Schafer, “Radio 111 FM” (12K)
Orphan Fairy Tale “Dragons of the Deeps” My Favorite Fairy Tale (Aguirre Records)
Nonhorse, “Live at The Tinnitus Suites”
6) Klop, “Tailed Adder” To Mould the Deceiver’s Song
7) Explosions in the Sky, “Alone Time” Prince Avalance OST (Temporary Residence)
8) The Beta Band, “The Hard One” S/T (Regal/Astralwerks)
9) Rutherford Chang, “The Beatles: Side 1 x 100 (excerpt)”
Michael Vitrano is head of Desire Path Recordings, a label based out of Buffalo that has released music by Kyle Bobby Dunn, Charlamagne Palestine & Janeck Schaefer, and Nite Lite. Here are some releases that he enjoyed from 2012.
High Aura’d, Sanguine Features (Bathetic)
Anxiously awaited this as his Mooncusser cassette was one of my favorites from 2011. Sought out John. Splendid human being. Became car soundtrack. Traveled everywhere with it. Bought LP. Continue to be in awe.
Nathan McLaughlin, The Refrigerator is Emotional (Senufo)
Exchanged some music with Nathan and he sent me some cassettes and his LP. Put it on, walked into other room, stopped, came back, sat down, stayed.
Paul Buchanan, Mid-Air (Newsroom)
Of Blue Nile. Fragile voice with fragile piano for the fragile psyche. “The buttons on your collar/The color of your hair/I think I see you everywhere.” First words, first track.
Coppice, Holes/Tracts (Consumer Waste)
The most original music being done right now. I don’t know how they make the “music” that they do.
Kane Ikin, Sublunar (12k)
Kane is one half of Australian duo Solo Andata. I will listen to anything Kane (or his Solo Andata partner Paul Fiocco) create forever. Sublunar has seemingly little in common with his work in Solo Andata, but there is a mood explored here which bears some resemblance to Ritual, the album Solo Andata put out with our label.
Kyle Bobby Dunn, In Miserum Stercus (Komino) and Bring Me The Head Of (Lowpoint)
An everlasting moment and everything else washes away. To me, Kyle is making some of the most important music of our lifetime.
Andrea Belfi, Wege (Room40)
Blistery. Bric-a-Brac. Belfi.
Grasshopper, The Day America Forgot (SicSic)
How this duo is not well-known is beyond me. House of Alchemy put out an excellent tape of theirs called Miles in the Sky, which was my introduction. This release takes their unique sound even further into the sky.
Hallock Hill, The Union/Hem of Evening (MIE Music)
One guitar. With care, panache, elegance, poetry.
The liner notes found within Loud & Sad’s handmade, silk screened, numbered matchbox case cassette False Intimacy list the five slow unspooling sonic sketches as “Example 1-5.” Apparently, these aptly titled “examples” are nothing more than solo pieces of processed piano, which the liner notes seem to imply were created with only the use of the black keys. You probably wouldn’t assume as much after listening to False Intimacy, which was recorded by long-time collaborators Joe Hupert (Dust in the Light) and Nathan McLaughlin (the Blanket Fort) and released by the cae-sur-a label out of Rochester. There is a richness of sound here despite the minimal tones that the duo make use of. But the point being made seems to be that less is more. This stands in very stark contrast to the many noise/sound artists that self-consciously fill up space with unnecessary knob twiddling. Here, instead, patience is demonstrated with an austere reserve that seems determined to let sounds exist and morph through evolution, as opposed to intervention.
At times, in almost all of the pieces, there is a sense that the machines or software or whatever is creating or manipulating these sounds are just left on to breathe in and out of sync with one another, like two people lying asleep next to one another.
There is a particularly daring passage that comes at the midway point of Side A that lasts roughly five minutes (I believe its “Example 2,” but is hard to discern exactly when one track begins and one ends). Anyway, this passage consists of little more than a rhythmic buzzing sound that flickers along in the background. Eventually–and I mean eventually–a distant filtered noise begins to gently chip at the top of the audio panorama. A little clicking here, a little tape hiss there, and what you get is the sonic sweep of a desolate landscape cloaked in a nuclear winter. The piano motif is gone, while any tones or notes are also expelled. After multiple listens, this passage begins to stand out not as the barest, but as the starkest. It’s almost as ballsy as John Cage sitting at a piano doing nothing. Here the duo retreat from their instruments and simply leave them be, letting (or perhaps forcing) the listener to really sit with these sounds. It really is a compelling section for its starkness and refusal to compromise by adding even the simplest of flourishes that might hint to the listener that this seemingly static scene is in fact a movement that is slowly unfolding to something grander. No, instead the listener is given no other option but to take it as it is and deal with it.
Moving to Side B, both “Example 4” and “Example 5” contain stunning piano moments that sound as if they are reverberating while covered in analog dust (imagery reminiscent of the title of Hupert’s solo project, Dust in the Light). It is here, especially in “Example 5,”that the loneliness trope –discussed in the liner notes and explored in a more amelodic manner on Side A—really comes to the forefront.
Then for a moment, right toward the end of the cassette, the piano playing emerges uninhibited by processing and it dances gracefully as if it were the score to melancholy documentary compiled of lost footage from film’s most glorious era. The cassette then ends on a somber, but resolute note.
Review by Taylor Waite