|
|
viewing 1 To 10 of 13 items
Next >>
|
|
|
|
|
|
|
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TO 083LP
|
Gatefold double LP version. On Audience Of One, Oren Ambarchi presents a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. His previous solo albums for Touch exhibited a clear progression towards augmenting and embellishing his signature bass-heavy guitar tones with fragile acoustic instrumentation. Audience Of One, while also existing in clear continuity with these recordings, opens the next chapter. Remarkable in its confidence and breadth, but also in the sensuous immediacy of its details, this is the first time a single record has come close to encapsulating Ambarchi's musical personality in its full range and singularity. The techniques and strategies developed in his refined improvisational work with Keith Rowe and his explorations of the outer limits of rock with Sunn O))) and Keiji Haino are both in evidence, alongside the meticulous attention to detail and composition of his solo works. And on the cover of Ace Frehley's "Fractured Mirror" which closes the record, Ambarchi even points to his roots as a classic rock fanatic, in an epic yet faithful version which extends the shimmering guitar patters of the original into a rich field of phase patters reminiscent of the classic American minimalism of Reich and Riley. The album features a multitude of collaborators, who, far from appearing in incidental roles, are integral to the pieces on which they perform: on "Salt," Ambarchi paints a hypnotic, chiming backdrop for Paul Duncan's (Warm Ghost) vocals, and Joe Talia's virtuoso drumming and driving cymbals are at the core of the epic "Knots," in which Ambarchi, alongside a chamber arrangement by Eyvind Kang, weaves a net of frequencies and textures with the organic push and pull of a '70s psych jam, the bass response of a doom metal ritual and the psycho-acoustic precision of an Alvin Lucier composition. On his previous records, Ambarchi's signature guitar tone was the ever-present bedrock over which other elements sounded. At moments on Audience Of One, this disappears entirely, as on the beautiful "Passage," which, recalling the '70s Italian non-academic minimalism of Roberto Cacciapaglia and Giusto Pio, is composed of overlapping tones from Hammond organ and wine glasses, Jessika Kenney's voice, various acoustic instruments, and the delicate amplified textures of Canadian sound-artist Crys Cole. Rather than being provided by any particular sound, the unified feel of Audience Of One stems simply from the unique, patient sensibility Ambarchi has developed over the last 20 years; abstracting musical forms into their barest forms, while somehow always managing to leave their emotive power intact.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
EMEGO 144CD
|
"For anyone who still associates Oren Ambarchi exclusively with the clipped, bass-heavy tones of solo electric guitar works such as Suspension (TO 033.18CD), this rhythmically churning one-man-band monster of an album-length piece might seem to come out of nowhere. However, listeners who have followed the breadth of his work for the last few years (solo and in projects with collaborators from Jim O'Rourke to Stephen O'Malley and Keith Rowe to Keiji Haino) will have noted how Ambarchi has allowed increasingly clear traces of his enthusiasms as a music listener (for classic rock, minimal techno and '70s fusion, among other areas) to surface in his performances and recordings, all the time filtering them through his signature long-form structures and psychoacoustic sonics. Recorded in a single inspired studio session, Sagittarian Domain displaces Ambarchi's trademark guitar sound from the center of the mix, its presence felt only as an occasional ghostly, reverberated shimmer. Endlessly pulsating guitar and bass lines sit alongside electronic percussion and thundering motorik drumming (familiar from his work with Keiji Haino) at the core of the piece, locking into a voodoo groove, like Faust covering a '70s cop show theme. The work is founded on hypnotic almost-repetition, the accents of the drum hits and interlocking bass and guitar lines shifting almost imperceptibly back and forwards over the beat as they undergo gradual transformations of timbre. Cut-up and phase-shifted strings enter around the half-way mark like an abstracted memory of the Eastern-tinged fusion of the Mahavishnu Orchestra's classic Visions of the Emerald Beyond, before returning for an extended, stark yet affecting come-down coda, equal parts Gavin Bryars and Purple Rain. While Sagittarian Domain contains traces of a diversity of influences, it mines all of them to uncover something that is clearly an extension of Ambarchi's own investigations up to this point, exhibiting the same care for micro-detail and surrender to the physicality of sound that are present in all of his work, extending them in new ways to repetition, pulse and rhythm." --Francis Plagne; Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
EMEGO 144LP
|
LP version. "For anyone who still associates Oren Ambarchi exclusively with the clipped, bass-heavy tones of solo electric guitar works such as Suspension (TO 033.18CD), this rhythmically churning one-man-band monster of an album-length piece might seem to come out of nowhere. However, listeners who have followed the breadth of his work for the last few years (solo and in projects with collaborators from Jim O'Rourke to Stephen O'Malley and Keith Rowe to Keiji Haino) will have noted how Ambarchi has allowed increasingly clear traces of his enthusiasms as a music listener (for classic rock, minimal techno and '70s fusion, among other areas) to surface in his performances and recordings, all the time filtering them through his signature long-form structures and psychoacoustic sonics. Recorded in a single inspired studio session, Sagittarian Domain displaces Ambarchi's trademark guitar sound from the center of the mix, its presence felt only as an occasional ghostly, reverberated shimmer. Endlessly pulsating guitar and bass lines sit alongside electronic percussion and thundering motorik drumming (familiar from his work with Keiji Haino) at the core of the piece, locking into a voodoo groove, like Faust covering a '70s cop show theme. The work is founded on hypnotic almost-repetition, the accents of the drum hits and interlocking bass and guitar lines shifting almost imperceptibly back and forwards over the beat as they undergo gradual transformations of timbre. Cut-up and phase-shifted strings enter around the half-way mark like an abstracted memory of the Eastern-tinged fusion of the Mahavishnu Orchestra's classic Visions of the Emerald Beyond, before returning for an extended, stark yet affecting come-down coda, equal parts Gavin Bryars and Purple Rain. While Sagittarian Domain contains traces of a diversity of influences, it mines all of them to uncover something that is clearly an extension of Ambarchi's own investigations up to this point, exhibiting the same care for micro-detail and surrender to the physicality of sound that are present in all of his work, extending them in new ways to repetition, pulse and rhythm." --Francis Plagne; Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TO 083CD
|
On Audience Of One, Oren Ambarchi presents a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. His previous solo albums for Touch exhibited a clear progression towards augmenting and embellishing his signature bass-heavy guitar tones with fragile acoustic instrumentation. Audience Of One, while also existing in clear continuity with these recordings, opens the next chapter. Remarkable in its confidence and breadth, but also in the sensuous immediacy of its details, this is the first time a single record has come close to encapsulating Ambarchi's musical personality in its full range and singularity. The techniques and strategies developed in his refined improvisational work with Keith Rowe and his explorations of the outer limits of rock with Sunn O))) and Keiji Haino are both in evidence, alongside the meticulous attention to detail and composition of his solo works. And on the cover of Ace Frehley's "Fractured Mirror" which closes the record, Ambarchi even points to his roots as a classic rock fanatic, in an epic yet faithful version which extends the shimmering guitar patters of the original into a rich field of phase patters reminiscent of the classic American minimalism of Reich and Riley. The album features a multitude of collaborators, who, far from appearing in incidental roles, are integral to the pieces on which they perform: on "Salt," Ambarchi paints a hypnotic, chiming backdrop for Paul Duncan's (Warm Ghost) vocals, and Joe Talia's virtuoso drumming and driving cymbals are at the core of the epic "Knots," in which Ambarchi, alongside a chamber arrangement by Eyvind Kang, weaves a net of frequencies and textures with the organic push and pull of a '70s psych jam, the bass response of a doom metal ritual and the psycho-acoustic precision of an Alvin Lucier composition. On his previous records, Ambarchi's signature guitar tone was the ever-present bedrock over which other elements sounded. At moments on Audience Of One, this disappears entirely, as on the beautiful "Passage," which, recalling the '70s Italian non-academic minimalism of Roberto Cacciapaglia and Giusto Pio, is composed of overlapping tones from Hammond organ and wine glasses, Jessika Kenney's voice, various acoustic instruments, and the delicate amplified textures of Canadian sound-artist Crys Cole. Rather than being provided by any particular sound, the unified feel of Audience Of One stems simply from the unique, patient sensibility Ambarchi has developed over the last 20 years; abstracting musical forms into their barest forms, while somehow always managing to leave their emotive power intact.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TONE 040CD
|
Intermission brings together a range of material Australian sound artist Oren Ambarchi has contributed to compilations and limited-edition vinyl releases between the years 2000 and 2008. Highlights include two live recordings -- an early, fragile solo guitar recording taken from a radio broadcast in 2000 and "A Final Kiss On Poisoned Cheeks," his powerful 12" recorded live in Vancouver in 2007 and originally released on Table Of The Elements. Additional tracks include "Iron Waves,"an exclusive track in collaboration with vocalist Paul Duncan and "Intimidator," featuring Australian pianist/composer Anthony Pateras, originally released on Southern Lord. These are special anomalies in the Ambarchi canon, but nonetheless feature the hallmarks of his unique sound-world, all underpinned by his trademark deep guitar tones and meticulous attention to detail. All tracks are newly remastered, many of which are available on CD for the first time. Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal. From the late '90s, his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world, incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate (TO 061CD) and In The Pendulum's Embrace, Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously co-exist with the deep, wall-shaking bass tones derived from his guitar. Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully-tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently-unfolding compositions.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 002CD
|
Originally released on ERS in 2000 as a limited-edition (300 copies), vinyl-only release, Oren Ambarchi's Persona is now available on CD for the first time. Persona was recorded in February 2000, just a week after the Afternoon Tea collaboration with Fennesz, Pimmon, Peter Rehberg and Keith Rowe. Utilizing a raw and spontaneous approach like the Stacte series of solo releases, Ambarchi recorded the pieces on Persona at home in a day, using only his guitar, a handful of effect pedals, and a boombox as a monitor(!). Considered to be a "sister" release to Ambarchi's acclaimed Suspension album on Touch, the material on Persona was only heard by a handful of listeners. From the late '90s, his experiments in guitar abstraction and extended technique led to a more personal and unique soundworld and Persona was an early document of this direction. Here, the pieces are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; and hushed, pensive songwriting. It recalls the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier, and the physicality of rock music, stripped back to its bare bones, abstracted and replaced with pure signal. Remastered in December 2008, with artwork designed by Stephen O'Malley.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 001CD
|
Originally released in 2000 on Plate Lunch as a limited-edition, vinyl-only album, Stacte.3 is now available on CD for the first time. Described by Wire scribe Jon Dale as "Alvin Lucier and Cluster collaborating for Mego," the concept of Oren Ambarchi's Stacte LP series -- now comprised of five volumes -- began in 1998. The first few Stacte LPs were self-released by Ambarchi and featured his earliest explorations of the guitar and its sonic possibilities after a period when he was known as a drummer in post-punk, noise and free jazz outfits. An idea was explored and investigated at length using a spontaneous approach, with Ambarchi treating each side of the vinyl like a canvas, slowly capturing a moment, patiently teasing every nuance and implication from each texture. His method allowed the listener to sink their teeth into something substantial over the course of the LP side's entire duration, resulting in an otherworldly, cumulative impact of patiently-unfolding compositions. The Stacte.3 release (especially the LP's second side), was a breakthrough for Ambarchi, and it defined the parameters for his subsequent projects such as 2001's Suspension and Grapes from the Estate from 2004, both released on the legendary UK label, Touch. Stacte.3 is an early glimpse of Ambarchi at his most raw and minimal, and it's a fascinating, integral listen in his catalog of sound works. Remastered in December 2008, with artwork designed by Stephen O'Malley.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TOE 095LP
|
$17.00
NOT IN STOCK, SPECIAL ORDER
"There is a vivid breadth to the guitar deconstructions of Australian Oren Ambarchi. Sometimes his work takes a delicate lilt; it can also dive into dark and deep pools of sound when he joins cowl-core ensembles Sunn O))) (with Stephen O'Malley) and Burial Chamber Trio (with Greg Anderson). Whether with those bands, solo, or in collaboration with luminaries ranging from Mike Patton and John Zorn to Christian Fennesz, he consistently reroutes his instrument into zones of arch, alien abstraction. A Final Kiss On Poisoned Cheeks offers a dizzying gaze straight into a chasm of extreme frequencies -- paint-peelingly high and bowel-churningly low -- all set atop a sub-strata of menace, angst, and contemplative beauty." Pressed on light-blue marbled, etched vinyl. B-side etching artwork by Savage Pencil.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
TS 005EP
|
Repressed. Oren Ambarchi presents Destinationless Desire: electric guitars, organ, samples, bells, percussion and motorized cymbals recorded at BJB Studios, Sydney with additional overdubs made at home in 2005-2007. Gratitude to Fairport Convention and Boris D Hegenbart.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WEAVIL 019LP
|
Originally released in 2007. Limited edition vinyl by the great Australian experimental guitarist, Oren Ambarchi. A Touch label recording artist, Oren has been making music since 1986, creating sounds from the guitar that one would not expect to hear. On this LP, two long tracks reside one per side, starting from minimal, low-frequency sounds to ever-growing drones of manipulated guitars... staggeringly beautiful! Limited to 650 hand-numbered copies. Last copies...
|
viewing 1 To 10 of 13 items
Next >>
|
|