31CDR - Randomworld 1

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Description

Randomworld is a series of compositions initiated in 2007 and based on an idea by Martin Archer and Neil Carver.

 

The work is issued in a limited edition of 150 CDRs, cut to order, named and numbered for each purchaser. Although each Randomworld piece occupies an identifiable sound world (e.g. Randomworld 1 always sounds like and is identifiable as that piece), on each CDR various software algorhythms within the composition shuffle the individual musicians' contributions and introduce elements of unpredictable sound processing.

 

The result is that no two CDRs are alike, and each copy sold is a unique version of the piece - and that's not just slightly or cosmetically different, each new version will be structurally very different from any other.

The finished CDR is packaged in a hand painted sleeve, again no two alike.

 

Over the course of 60 minutes this first release (probably!) moves between drones, free improv, guitar loops, sudden environmental interruptions, plus UTT's very distinctive turntable music. Overall sounds closest to contemporary electroacoustic music, perhaps?

 

NO LONGER AVAILABLE

Performers

Martin Archer - laptop, harmonium, zither, chimes, bass clarinet


Chris Bywater - electric violin, processing


Neil Carver - electric guitar, processing


Chris Meloche - environmental recordings, processing


UTT - turntables, vinyl tracing, processing



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Randomworld is a series of compositions initiated in 2007 and based on an idea by Martin Archer and Neil Carver.

 

The work is issued in a limited edition of 150 CDRs, cut to order, named and numbered for each purchaser. Although each Randomworld piece occupies an identifiable sound world (e.g. Randomworld 1 always sounds like and is identifiable as that piece), on each CDR various software algorhythms within the composition shuffle the individual musicians' contributions and introduce elements of unpredictable sound processing.

 

The result is that no two CDRs are alike, and each copy sold is a unique version of the piece - and that's not just slightly or cosmetically different, each new version will be structurally very different from any other.

The finished CDR is packaged in a hand painted sleeve, again no two alike.

 

Over the course of 60 minutes this first release (probably!) moves between drones, free improv, guitar loops, sudden environmental interruptions, plus UTT's very distinctive turntable music. Overall sounds closest to contemporary electroacoustic music, perhaps?

 

NO LONGER AVAILABLE

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Martin Archer - laptop, harmonium, zither, chimes, bass clarinet


Chris Bywater - electric violin, processing


Neil Carver - electric guitar, processing


Chris Meloche - environmental recordings, processing


UTT - turntables, vinyl tracing, processing

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Martin Archer - laptop, harmonium, zither, chimes, bass clarinet


Chris Bywater - electric violin, processing


Neil Carver - electric guitar, processing


Chris Meloche - environmental recordings, processing


UTT - turntables, vinyl tracing, processing

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"Convinces as a compelling piece of electroacoustic music....its location of conventional acoustic instruments within a self-arranging digital framework produceing moments of creeping insectoid menace that recede to intervals of pastoral reverie....recognising the capacity of the machine to create and direct, and the importance of the human element when it comes to spontaneous composition" - WIRE

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"Convinces as a compelling piece of electroacoustic music....its location of conventional acoustic instruments within a self-arranging digital framework produceing moments of creeping insectoid menace that recede to intervals of pastoral reverie....recognising the capacity of the machine to create and direct, and the importance of the human element when it comes to spontaneous composition" - WIRE

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Reviews

"Convinces as a compelling piece of electroacoustic music....its location of conventional acoustic instruments within a self-arranging digital framework produceing moments of creeping insectoid menace that recede to intervals of pastoral reverie....recognising the capacity of the machine to create and direct, and the importance of the human element when it comes to spontaneous composition" - WIRE