This release is available in limited edition 100 x CDr & Data-DVD using high quality Aquaguard (matt) or Watershield (gloss) discs (depending on availability). The covers are made from recycled card. The video is released as a data file to ensure the highest possible quality is available…
I think it’s safe to say that space, and more specifically, the sun and planets, have been the inspiration behind a large number of musical projects over the years. While this work deals with some of this familiar subject, it does so with the emphasis on time and particularly by how it is marked by movement within the solar system.
The piece “Ecliptic Plane” was initially conceived as a gallery exhibit exploring the synchronicity of the planets and their moons. Once it was finished, it became clear that any release would need to be expanded to include a more complete picture of the solar system. Each track then came about through a combination of examining the properties of the subjects and a series of mathematical music experiments conducted in parallel.
The tracks “Ecliptic Plane” and “Resonant TNOs” extensively use the data from the planets, their moons and other objects to create their rhythms and harmonies. In the case of “Resonant TNOs” the musical scale was derived directly from the frequency ratios of the orbits of the titular objects themselves.
Whilst “Approaching/Receding Sun” and “Oort Cloud” are essentially impressionistic in nature, they are the results of mathematical experiments that have links with their subjects through mood and metaphor.
The video is a companion for the piece “Ecliptic Plane”. It shows the planets and their significant satellites in a series of eight videos. The scale of the objects and light angles closely match the real thing but the orbital periods of the moons have been adjusted so that they all return to their starting positions. While the film is not actually in black and white, no colour, planetary detail or star field, has been added. This is not an attempt at a realistic portrayal of the solar system but instead, when combined with the music, a expression of the places depicted from a human perspective.
Jonathan Canupp is a name you should know but probably don’t, but then again might. He records under Ten and Tracer and I’ve been into his records for ages and ages now. Back when I was checking out early net label releases, Jonathan came up as one of two people whose work in their entirety I just fell in love with. And funny how he actually works with the other artist now and lives in the same damn city – the person being a certain Jason Corder (offthesky, Juxta Phona) no less. He makes wonderful IDM music and in fact I may have asked him years ago now to make us a ‘meaty beaty’ record. And along he comes with the very cheek of making some sublimely evolved, subtly woven record using violin, tape machines, guitars, maybe some keyboards and other stuff too. Friendless Now is a beautifully realised work, and one of my favourite Ten and Tracer releases to date.
Talkingmakesnosense is Dominic Dixon of Glasgow who has been making music in one form or another since he was a child. Most recently, he’s been releasing records on the now sadly defunct Benbecula Records, and now a new album on Rural Colours.
Coruscates consists of four long-form tracks, each tipping past the ten-minute mark.
An edition of 100, CD and cover packaged in a translucent envelope.
This 44 minute piece may structurally resemble a classical composition – divided as it is into several interlocking stanzas – but it’s difficult to place it comfortably within the realm of modern music. If anything, ‘The Rest….’ evokes the otherwordly, fantastical obsessions of the Victorians (Conan Doyle, Lear, Grandville, Wellcome, etc) through means of meticulously manipulated instrumentation, samples and voice.Plinth, of course, is no stranger to Victoriana.
Extremely limited numbers available: For all intents and purposes, Grand Salvo is the work of singer-songwriter Paddy Mann. Grand Salvo’s debut album, 1642-1727, and its follow-up, River Road, earned him rave reviews and a solid following at home and beyond for his stark, sensitive and beautiful songs.
After a spell living in Europe, Paddy returned to Australia and began work on another album he’d dreamt up while away, A set of songs that acts as a children’s storybook, the album became cursed with too many recording problems and Paddy decided to shelve it. While that project will eventually see the light of day, its plagued nature ironically became the motivation for The Temporal Wheel.