Work 2006​-​2011

by John Wall & Alex Rodgers

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1.
Section A 13:26
2.
Section B 08:34
3.
Section C 09:35
4.
Section D 08:36

about

This work was compiled from improvisations and independently-recorded fragments over the specified period.

John wall
Computer-generated sounds Severe editing and composition

Alex rodgers
Voice Computer-generated sounds

Mastered by Simon Heyworth.

originally published in 2011 Entracte

The cd WORK 2006-11 is divided into four sections for no other reason than to make it easier for a detailed breakdown and clarification of the various sound/text pieces used to make up the complete work.

Section A
00:00 to 01:42 Construction 12 (JW)
01:43 to 02:58 Laptop improvisation(JW) Voice(AR)

Improvisation applies only to the sounds generated on computer.
The words are fixed and all from Alex Rodgers written texts.

02:59 to 03:41 Construction 13 (JW)
03:42 to 07:05 Laptop improvisation(JW) Voice(AR). No title
07:06 to 08:51 Construction 14 (JW)
08:52 to 09:45 Laptop improvisation(JW) Voice(AR). No title
09:46 to 11:28 Construction 15 (JW)
11:47 to 13:22 Laptop improvisation (JW) Voice(AR). No title

00:00 to 00:03 silence

SectionB
00:00 to 00:41 Laptop(AR) "ununameur“
00:42 to 04:42 Voice (AR) "Fingerlessly Asleep”
at 02:52 sound (JW) added to original recording
04:43 to 08:29 Construction 20 "BitFracModify" (JW)

00:00 to 00:03 silence

SectionC
00:00 to 01:10 Construction 17 (JW)
utilising sound samples that were used in the following piece
01:11 to 02:53 Laptop improvisation (JW) Voice(AR). No title
02:54 to 03:17 Laptop improvisation (JW&AR)
heavily edited to function as a sound bridge to...............
03:18 to 05:07 Voice/Laptop (AR) "me washing's all fucked up"
05:19 to 07:03 Construction 22 "Organ" (JW)
07:04 to 09:02 Voice/Laptop (AR)
09:03 to 09:31 Construction 23(JW)

00:00 to 00:03 Pause

SectionD
00:00 to 00:50 Laptop improvisation (JW) Voice(AR). No title
00:51 to 02:04 Construction 34 (JW)
02:05 to 03:34 Voice/Laptop(AR)
03:35 to 03:58 Laptop improvisation (JW&AR)
extreme edit taken from 21.09.10 session.
03:59 to 04:19 Construction 24(JW)
function as a sound bridge to.......
04:20 to 06:06 Voice/Laptop(AR) "Horn-ed"
Laptop(JW) added/edited in later
06:07 to 08:30 Construction 16 (JW) “8thru(metasin)”

A fascinating release. A bit has been written on what a departure this is for Wall, but I'm not sure. I may have missed something along the way (I have five releases of his on Utterpsalm) but aside from the obvious prominence of Rodgers' voice, I hear it as a not too wayward extension of the previous works. Yes, it was constructed, laboriously one imagines though not so much as had been the case on earlier releases; built from improvisations but so had much of his music been before. It's pared down in terms of elements--just Wall and Rodgers--but much of his music had been as well, even if there were half a dozen contributors at a given moment; it tended to sound sparse and astringent.

Rodgers' texts are not at all improvised, though Wall seems to have taken liberties rearranging and editing them. From what I understand, the slight warping and other electronic effects imparted to his voice are of his own devising as well as having recorded into a cheap dictaphone, hence perhaps the up-closeness of his sound. Wall balances his own contributions equitably, Rodgers phasing in and out of a mix that's not all too unlike Wall's past work despite (one assumes) not be derived from the instrumental work of others and, as stated, having been improvised. It retains the silvery thinness heard before, a unique and beautiful sound-world; I've little doubt I would have recognised the music as Wall's in a blindfold test. I often visualise a think plate of copper or zinc, with various bumps, scratches and other "imperfections" arrayed across its softly gleaming surface. Rodgers, his words slurred, bitter and Beckettian adds just the right amount of soot...or suet. It really meshes perfectly, not foregrounded so much, more embedded.

While certainly episodic in construction, the piece cleaves together seamlessly as a whole, a bleak cascade of shards and syllables, like little else you'll hear. An excellent recording.

review by Brian Olewnick

credits

released January 6, 2011

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John Wall London, UK

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