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[H-RA 008 CS] Keith Fullerton Whitman; Epithets

[H-RA 008 CS] Keith Fullerton Whitman; Epithets

H-RA 008 CS
C45 Cassette

The eighth title in a series of short-run "Hi-Res Audio" releases, this edition of "Epithets" was manufactured during July 2020, and comes as a C-45 Music Grade Normal Bias Tape in a White shell, housed in its own White and Clear Cassette Box (with the apropos gold-foil-stamped sticker affixed to the lower-right of the cover) along with black-and-white abels & J-Cards, kept fresh inside a "Disk Union" style resealable vertical outer sleeve (with the kanji-strips kept intact, sealed by cello-tape). These were dubbed (warm) to tape from the original 24/48 masters in batches of 4 via a Recordex Soundmaster IV here in the studio in Brooklyn, NY, and the sound of the previously digital-only master, when subjected to such a transformation, is warmĀ &Ā inviting.

As we approach the five-year anniversary of the moment that Tony Myatt & Oli Larkin's "The Morning Line" was first switched on with the 12-channel variant of this piece installed, it feels only right & natural to celebrate this in-situ/site-specific footnote as a non-geographically-limited edition for all to share & enjoy. This cassette features the entire 44-minute runtime of the piece as a stereo reduction, including full, redundant, minute-long fades in/out at the end/beginning of the A/B sides.

Epithets (2015) is a 12-channel, 44 minute electronic work composed for Tony Myatt & Oli Larkin's "The Morning Line;" a 53-channel hybrid sculpture / Acousmatic space currently installed in front of ZKM in Karlsruhe, Germany. The premiere was made as part of Insonic festival on the 24th of November & the piece was entered into the regular circulation of the sculpture, enjoying nightly performances from the 26th on.

Created specifically for the Morning Line, 'Epithets" is based around a generative, self-automating Hybrid Analogue-Digital Modular Synthesizer patch that applies principles of Werner Heisenberg's research on "Turbulent Flows" into a series of sub-dividable motor-rhythm arcs that freely wander across the internal sound-fields of the sculpture.

While structurally similar to early Minimalism, the piece incorporates gradual, almost subliminal shifts between modal & nonlinear tonalities that only become apparent over the piece's complete duration.


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