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01. MAX EASTLEY - Installation No.3 Pt.1
02. MAX EASTLEY - Wooden Blocks and Brass Sheet
03. MAX EASTLEY - Aerophones 1
04. MAX EASTLEY - Monochord
05. MAX EASTLEY - Aerophones 2
06. MAX EASTLEY - Motors and Metal Rods 1
07. MAX EASTLEY - Aerophones 3
08. MAX EASTLEY - Serpentine Gallery Installation
09. MAX EASTLEY - Installation for the Film "Clocks of the Midnight Hours"
10. MAX EASTLEY - Stone Circle 1
11. MAX EASTLEY - Motors and Metal Rods 2
12. MAX EASTLEY - Centriphone
13. MAX EASTLEY - Hydrophone String Installation
14. MAX EASTLEY - Half Speed Metal Installation
15. MAX EASTLEY - Stone Circle 2
16. MAX EASTLEY - Two Aeolian Arcs
17. MAX EASTLEY - Strings - Interior and Exterior
01. MAX EASTLEY - 2 Aeolian Harps Pt.1
02. MAX EASTLEY - Wooden Blocks
03. MAX EASTLEY - 2 Aeolian Harps Pt.2
04. MAX EASTLEY - Aerophones 4
05. MAX EASTLEY - Motor and Strings
06. MAX EASTLEY - Aerophones 5
07. MAX EASTLEY - Installation No.3 Pt.2
08. MAX EASTLEY - Aerophones 6
09. MAX EASTLEY - Aeolean Arc and Strings
10. MAX EASTLEY - Aerophones 7
11. MAX EASTLEY - Friction Tubes
12. MAX EASTLEY - Aeolian Flutes
13. MAX EASTLEY - Wire On Paper
14. MAX EASTLEY - Aeolian Flutes and Aeolian Harp
15. MAX EASTLEY - Installation Waterloo Gallery
16. MAX EASTLEY - Aeolian Flutes 2
17. MAX EASTLEY - Whirled Music
18. MAX EASTLEY - Swung Aeolian Flutes and Grass Blade
ARTIST
TITLE
Installation Recordings (1973 - 2008)
FORMAT
2CD

LABEL
CATALOG #
PD 026CD PD 026CD
GENRE
RELEASE DATE
12/4/2012

2010 release. This 2CD is essentially a retrospective of Max Eastley's installation work. As such, it updates and adds many new examples to the 1975 release New and Rediscovered Musical Instruments, which was released as a split LP with David Toop on Brian Eno's Obscure Records. This is Eastley's first solo CD. Of the 35 tracks, only the last two have any guests (the most virtuosic moment being George Lewis playing a grass blade). All the other pieces are either powered by the natural forces of wind and water, or else are motor-driven gallery installations. The ethereal sounds of the aoelian harps, the haunting aeolian flutes, and the violent tension of his aerophone installations are hallmark Eastley sounds. These sounds, and many others, sit amidst a wide range of acoustic settings, from windy hill-tops to quiet brooks, residential street scenes to coastal shores. The indoor recordings are no less varied, ranging across a rich variety of acoustics and gallery spaces from tiny micro-sounds to large-scale amplification. Wood, metal and stone are brought to life with electricity. Although there are many photos in the 20-page booklet, much is left to the imagination to work out how the sounds are made. With this limited access to the visual, the focus is pulled towards the musicality of the sounds themselves. This musicality is reinforced by the slow cross-fades of most of the pieces from indoors to outdoors to form a series of suites. The recordings mostly date from the mid-'70s, but there are pieces from later decades. Nearly everything was recorded either to Revox or Uher and occasionally cassette, using what microphones were available at the time. Recent recordings are digital. The varying quality of the recording set-ups across this 2CD adds yet another dimension to the shifting sound fabric of this anthology.