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[H-RA 009 CS] Nadra Phalanx


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The ninth title in a series of short-run "Hi-Res Audio" releases, this edition of "Nadra Phalanx" was manufactured during July 2020, and comes as a pair of C-66 Music Grade Normal Bias Tapes (Transparent with Yellow Leader) with full-color labels each housed in its own Clear/Lemon Norelco Case (with the apropos gold-foil-stamped sticker affixed to the lower-right of the cover) along with full-color printed labels & J-Cards, cello-taped shut inside "Disk Union" style vertical sleeves (with the kanji strips intact). These were dubbed (warm) to tape from the original 24/96 masters in batches of 4 via a Recordex Soundmaster IV here in the studio in Brooklyn, NY, with the tracklisting modified just slightly to fit neatly into a quartet of ~33 minute sides.

This was always one of my favorite extended studio endeavors; I had wanted to make a single C-134 edition of it for ages, and this is pretty much exactly that, albeit split across two tapes instead of two sides (there was just no way the Recordex could handle anything longer than 90m without it being a special "duplicator-safe" tape; of which I simply could not find at this length). Revel in the sun slowly going down, creating waning values fed via photoresistor, then inverted to create a steady, gradual increase in how much rhythmic subdivision was in effect along a network of 12 shift registers, yielding steadily rising complexities in sound-organization. Comes with a voucher which you can use to claim the appropriate "Digital Assets" over at Bandcamp.

Proper digital release of this 2012 suite of "Automatic" Electronic Music, remastered from the original 24/96 session data. The first six pieces, originally aired as part of the MACBA's online RWM series "Composing With Process", curated by Mark Fell & Joe Gilmore, have here been augmented with four out-takes from the same session, as well as a live take performed with the same configuration, recorded on June 14th, 2012, at the Whitehaus in Jamaica Plain, MA.

‘Nadra Phalanx’ consists of a series of automatic pieces for Hybrid Digital-Analogue Modular Synthesiser. These un-monitored and unedited pieces were recorded on June 9th and 10th, 2012. According to Whitman, the tracks ‘all hinge around the same set of generative patches, where white noise is sampled then used to derive a series of 12 bucket brigade voltages that are attenuated, then multiplied and applied to all manner of automations within the patches’. Whitman goes on to explain that ‘all changes are programmed into the patches, even formal changes are due to extremely long duty cycles’.