[Computer]-[Piano] Part II

by John Wall

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1.	[Computer]-[Piano] Part II 03:52	buy track
2.	[Piano] 02:38	buy track
3.	[Computer]-[Piano] Part II Variation I 02:59	buy track

about

John Wall computer, piano,
editing / composing / manipulation of sampled and original sound material.

Paul Richardson Mastering

As with the previous Computer-Piano release these three compositions consist of piano recordings (that are not subject to any computer manipulations) and computer manufactured sounds that were built around the (analogue) piano of [Computer]-[Piano] part II and [Computer]-[Piano] part II Variation 1.
The objective (as before with Computer-Piano ) was to create a work that combined the analogue and digital into an aesthetically convincing structured work.
The solo piano piece is included because I felt its “shaping”, duration and contrasting nature worked well with the two more intense pieces.

…………………………………………

The piano is a drum (or, like Wilmer on Taylor, eighty-eight tuned drums) and therefore in pressing a key you are already marking out time. The keys themselves and the stable, predictable intervals between them form a kind of visual timeline: each key is the same, almost anonymous, like each passing second taken in abstraction—yet each second is also utterly unique, an ephemeral, infinitely complex convergence of countless contingencies that can never be recreated. I make this tenuous preface to emphasize the piano’s inherently radical properties; there is a reason that Amacher turned to the (un-prepared!) piano after a lifetime researching extreme psychoacoustic phenomena and the limits of human cognition.

With [Computer]-[Piano] Part II, John Wall unfolds these most radical properties by carefully bending and warping the air around the piano into cascading slivers of digital dust and sunlight, snapping the typical ringing resonance of hammer on string onto a constantly morphing and collapsing rhythmic grid like a kind of perceptual AutoTune. If a resonance, by definition, must be tied to a particular space, this effect is akin to rapidly folding and exploding “ the room,” which in turn feeds back upon the piano itself, making certain gestures sound cavernous, others claustrophobic, all within the span of seconds. (Imagine Takashi Ito’s Spacy.) Here, I can’t help but see ghosts—not fantastic or anthropomorphic, but rather the tangible residue of time and space; the human activity that is doomed to toil within their confines; the attempts to transcend them.
Review by Sunik Kim

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released May 27, 2022

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John Wall London, UK

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