|
Search Result for Artist Tim Barnes
viewing 1 To 3 of 3 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
AMIRW 038LP
|
"Tim Barnes' latest full-length: DEΔD-LOOP, his first solo release since 2002's All Acoustics. DEΔD-LOOP offers another arm in Barnes' wide-ranging body of music and work, as well as supplying an additional thread connecting the House, pop and sound art conversations the album engages. In many ways DEΔD-LOOP is house music that takes a sideways approach to the language of dance music. As both a concept and a practice, Barnes aims to turn house on its side, reconsidering its structure and form. The tracks on DEΔD-LOOP reflect Barnes' status as a renowned percussionist, offering rhythms and textures that both draw the listener in and maintain a spatial and temporal distance/uncertainty. This distance can best be heard on the quiet closing track 'NAKU,' but also in the hyperactive and layered percussion of 'AEMO' and 'GUALA.' This record isn't all concept, however, as the lead off tracks 'HORNA' and 'KONQR' sound like something you might hear at rave, albeit standing outside the club in the middle of day after everyone has crashed. The foggy celebration continues on this record, however; listen to 'JAPE' and its play with language, cracking words open and hearing what comes out of the space between syllable and sound. Since 1995, Tim Barnes has been internationally acclaimed as a musician, having played with a range of artists including Tony Conrad, Ikue Mori, Sonic Youth, Glenn Kotche, P.G. Six, Mike Watt, Royal Trux, Stereolab, Jim O'Rourke, Beth Orton, among others. Barnes has most recently become known for his radical site-specific sound art duo with Jeph Jerman (Erstwhile, IDEA Intermedia, Feeding Tube). Working across both genre and instrumentation, Barnes' singular history as a musician reflects his versatile ear and performance range. Barnes has also done important research and work as an archivist and engineer, most notably through his Quakebasket-imprint. Quakebasket made available and distributed the work of artists like Henry Flynt, Pandit Pran Nath, Christopher Tree and, most notably, Angus MacLise. In looking forward, Quakebasket released music by Michael J. Schumacher, Tetuzi Akiyama, Nick Hennies, and Valerio Tricoli, among many others. DEΔD-LOOP is the latest installment of Amish's in-house label Required Wreckers, pairing music and sound art with visual artists who share a thematic or process-based methodology. DEΔD-LOOP features the work of American-born and French-based artist/filmmaker Erick Baudelaire's Blind Walls series. These recordings were mastered by Giuseppe Ielasi."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ERST 074CD
|
"I'm really excited to finally have Jeph and Tim on Erstwhile, as I have long been inspired by both. In July 2004, I saw a night of solos and duos by Jeph, Tim, Sean Meehan, and David Daniell at Clemente Soto Velez in Manhattan, and that night inspired me to start the ErstQuake series with Tim, which we kicked off a few months later, also at Clemente Soto Velez. So in a way this has been in the works since then, although all of the material was newly recorded in 2014." Five tracks, 68 minutes, recorded by Barry Weisblat along with Jeph/Tim and mastered by Jason Lescalleet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
QB 019CD
|
"In early 2003, Akiyama (guitar) and Barnes (percussion(s) began a tour that took them from Kyoto, Osaka and Tokyo in Japan, to New York, North Hampton, and Boston. Along the way, they picked up many friends (Ami Yoshida, Matt Valentine, Sean Meehan, Toshimaru Nakamura) to perform with them as trios. One night in particular, a below freezing evening in Osaka, Akiyama and Barnes were joined by one of the most exciting trumpet players to emerge from Japan in the last 20 years -- Masafumi Ezaki. Protected from the frigid world outside, Akiyama, Barnes and Ezaki found themselves surrounded by an amazing collection of Art Deco furniture and Op-Art wall hangings which filled the petite Café Futuro. The trio packed themselves into the smallest corner, and began to respond to all the sensations and elements surrounding them. This completely acoustic musical situation gather its sounds into sparse vertical patterns that continually collapse back into it self. The players seem to travel beyond their own instrument. You rarely hear them play any conventional gestures or tones, as if they were using these instruments to channel some other musical mission."
|
|
|
|