Un événement

An excerpt from Ben Gwilliam's Vestibül CD on Glistening Examples.
https://glisteningexamples.bandcamp.com/album/vestib-l

In the words of Ben Gwilliam: 
"Vestibül was conceived as a short series of listening studies in 2010 as my interest in the materials in my work was shifting towards the physical properties of sound media and the ensuing relationship between sound and image making. 

Recording took place over one week in early january 2011, working closely with NurNichtNur producer Berserker at his recording studio, several tape machines were sequentially recorded in solo and in arrangements. The same approach was made with other magnetic systems I employ producing something that was mixed in sections on an analogue system. 

Having had a break from the project after 4 years, I attempted to finish the work in late 2014, having had the dust settle on changes, thoughts and attitudes on sound. As I have shifted towards process even further, (to my ears) Vestibül bookends a body of work that has lead my music into new territories."

Recorded and mixed at NurNichtNur Studios 
Schloss Gnadenthal, Kleve. 10th-17th January 2011 

All sound and processes by Ben Gwilliam 
Produced by Berserker 
Mixed by Ben Gwilliam 2014/15 
Mastered by Jason Lescalleet at Glistening Labs USA 
All artwork & design by Rachael Elwell

Ben Gwilliam - Vestibül (00:00 - 06:08)

From the record by Maja S. K. Ratkje with the same title released on Rune Grammofon 2002. 

Voice

¡ we will woo ! last 4 tracks album released by El Cuarto Elastico in January 2017   
>>-> - - - - - <3 - - - - - >>> 
https://elcuartoelasticomusica.bandcamp.com/album/cayuco

c a y u c o

02_como aire

AUDIO VISIT TAPE CARD 
Tokyo Sept 2017 C-12 
Praat5383

Xilo Obachia Que Tentenna

https://ultraeczema.bandcamp.com/album/dark-arc

Dan Melchior & Sigtryggur Berg Sigmarsson (Dark Arc A Side)

Trompe-l'oreille

Progressive Looping

J'amène la foudre à moi
l'eau de Cologne coule
sous les bras
Karl mets mon nez dans le trou du mur
son visage pur


brasser le chat
dos de pelles
truies et dentelles
s'associent


pluie pâtes
metal câpre
pi rare
cave graal
mie rouille


c'est nous c'est nous c'est nous
je suis grand dans le fond du nous
c'est nous c'est moi c'est nous
on est grands dans le fond du nous
c'est moi c'est nous
je suis grand dans le fond du nous
c'est clair c'est moi c'est nous
on est beaux dans le ventre du nous
c'est nous nous
on est tous dans le fond du nous

l'internet a cassé
karl répare mal

"à table!"
fais le chien
dans la verrière
sous la guirlande de Saint-Tulle


car tout le monde le sait
qu'on sauve les nids
au centre commercial

commercial 
drap housse
pince crabe drap housse
ha la bobotte à Karl
elle s'essuie sur les draps housse
ha la bobotte à karl
elle aime distribuer des coups
ha la bobotte à karl
elle s'essuie sur les draps housses
ha la bobotte à karl
distribuer des coups
S'asseoir sur les draps housses

***

Percussions - Johan Mazé

Èlg - Karl est en Dedans - from "Dans le Salon du Nous" LP - 2021 - Vlek

It makes less sense to say that Maths Balance Volumes formed in 2002 than to say that, since that year, they have been collapsing into something, again and again. Just as the three members fell together with no plan or allegiance to any style or genre, each track falls together as the broken pieces of songs and sounds meet to make a temporary and frightening whole. Things make their way into a Maths Balance Volumes song when they don’t or won’t work anymore, when they have escaped their owner, or hidden away where nobody is supposed to find them. When things fall together—when the wooden creaks and radio hisses gather for a minute alongside bass lines and melancholy voice—there is a beauty that sounds like it was made by nobody and for nobody.

The city of Mankato, Minnesota has been the steady gathering point for the band since its beginnings. Mankato had always provided an ominous backdrop: built on stolen Dakota land, the city was the site of the largest mass execution in US history, when 38 Dakota prisoners were hanged on in 1862 in a straightforward act of genocide. But in their music of the past twelve years, Maths Balance Volumes has made music in and of a hometown overshadowed and unsettled by its history, music for a world in which things have never been okay. Traditional American folk genres seep in at times, but never as the incarnation of a living popular culture—only as ghosts or unliving effigies.

A Year Closer tells us already in its title what its theme is: approaching death, time ticking away and getting closer with each track of the record. We are told in the first song that our protective mask isn’t working, warned by the storm clouds and a ticking bedroom clock in “Dark Skies.” We hear fears of death approaching in the sad words exchanged by lovers who see they will run out of time, or already have, as in “We Had Time” or the romantic lament of “When I Drink.” In “Work Last Monday,” all of life passes with cold automatism in an “office apartment,” as a narrator broods over early onset dementia, remembers the details of rituals for respecting the dead, and thinks of how a hole is opening up in reality itself. The singer of “Over the Hill” isn’t apparently afraid of growing older and becoming a “man,” but only leaks a few disjointed details of his plans for disappearing, collapsing, turning into a tree, and finding a home. “Angel of Mercy” tries to resurrect the Christian promise of a life after death, anxiously asking if anyone is up there waiting for us after the oblivion of this world. 

But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of “The Price” speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide. These are the moments that the listener of Maths Balance Volumes always knows are coming, waits for, and settles in temporarily for a moment of repose. Maybe this is the meaning of A Year Closer: while waiting for the worst, things come together, a “we” with no name but with a rhythm, a tenuous but definite harmony to share as the clock ticks. Even if, when the lights are turned on, it turns out nobody was there. - Paul Buchholz

Taken from PP48 A Year Closer LP coming soon

Ben Gwilliam - Vestibül (00:00 - 06:08)

Glistening Examples

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