#sedimental

[musicollage]

Stars Of The Lid. Gravitational Pull Vs. The Desire For An Aquatic Life, 1996. Sedimental + Kranky.

[dustedmagazine]

Pisaura — Asteraceae (Sedimental)

Perhaps the broadest theme that Michael Pisaro-Liu’s music has engaged over the past decade is the possibility that humanity live more harmoniously with the natural world. Broad is as good a word as any, since the works that most explicitly address this theme are big ones; Continuum Unbound consists of three CDs, each 72 minutes in length, and Nature Denatured and Found Again comprises five CDs, each 48 minutes long. On Asteraceae, he gets pithy, but also reaches higher than ever before. It is a single CD, one more lasting 72 minutes. But it is simultaneously grounded by geography and guided by the stars.

Pisaura-Asteraceae by SEDIMENTAL

Pisaura is a collaboration between Pisaro-Liu and Zizia, the already extent partnership of astrologist Amber Wolfe and horticulturalist/entomologist Jarrod Fowler. But the number of humans involved is drastically smaller than the number of collaborators listed on the webpage that Zizia have created to elucidate Asteraceae’s components and influences. A very incomplete list of those collaborators includes Clarkia amoena (Lehm.) A. Nelson & J.F. Macbr.; Aluminum Foil; Aspectek Yard Sentinel Ultrasonic Outdoor Pest & Animal Repellant; Gingko biloba L.; Fender ’65 Deluxe Reverb Guitar Amplifier; Na2O; Unami-Vibe Chorus/Vibrato; and Yamaha Concert Grand Piano. It would seem that every tool used, element or life-form involved, or publication consulted during the composition, recording, and mastering of this work is a collaborator. Take that, hierarchies. And the name of the album, which is borrowed from a large family of flowering plants, further suggests that part of the point of this endeavor is to recognize that everything is connected, and that the dimensions of each collaborator’s contribution do not correspond to their value.  

So how does this vast web of information, equipment, and influences get transmuted into sound? The score was developed by using astrological charts to organize performances made using field recordings and musical actions. Rushing water, distant birds and further distance airplanes, whose titles are written backwards, share room with evidently human actions and blurry tunes. The keyboard melodies on “Venus Scorpio 19° 4th” and “Sun Sagittarius 19° 4th” feel like snatches from some overheard church service; “Pluto Libra 0° 3rd” sounds like a cut-up sequence of distant drum beats. Nothing sounds big and not much lasts long, but their cumulative effect is somewhat like a walk in the woods; each apparently organized moment seems to be part of a greater whole that fits together, but is too vast to completely perceive. Humans have asserted that that they contain multitudes, and maybe they do; however, Asteraceae invites you, dear human, to consider just what a speck in vastness you really are.

Bill Meyer

[ilovieny]

Box of rocks = #trumpsupporters (partial portrait) #rocks #nooffensetorocks #sedimental #quarrynotquarry not pictured: under rock #trolls #trump2020 #dumbasarock #boxofrocks #eatrocks #rockwall #bidenorbust #bronxartist #rocksforsale #penandink #keepdrawing #originaldrawing https://www.instagram.com/p/CD9SEUNpNm2/?igshid=1sr2z96zzpekp

[datzpuple]

Sparkling Love

[edwintansimloong]

#happiesthuman #sedimental #justwannabehappy #mindfulness https://www.instagram.com/p/B4Fm9PBFUBF/?igshid=16tny54addykd

[literallyjustarock]

really missing the good old days of music

[meravigliedappertutto]

Francisco López Untitled Music for Geography

[czyni]

alessandro bosetti sześć i pół

Kompozycja, o której autor mowa w tym wywiadzie.

Wydana w 2007 przez Rossbin, w tekturowym opakowaniu formatu zwykle używanego dla dvd.

Zwölfzungen czyli dwanaście utworów portretujących języki, których Bosetti nie rozumie.

Sedimental 2010. Rysunki Erina Womacka, projekt i druk Shelter Bookworks.

Trophies to zespół założony przez Bosettiego, który gra coś w rodzaju piosenek. Ale raczej nietypowych - składających się z samego refrenu. Tekst się ciągle powtarza, jedynie sposób jego podania (bo nie śpiewania) się zmienia. Oprócz naszego bohatera (głos, elektronika) w składzie Kenta Nagai na gitarze i Tony Buck na perkusji.

Monotype 2011. Zdjęcie Roberty Frateschi, projekt Mirta.

Ten sam rok, ta sama wytwórnia, pojawia się ten sam tekst Sebalda. Projekt Mirta, na okładce praca Kati Heck.

Trzy kompozycje, gdzie oczywiście głos/mowa, ale również pianino (też wurlitzer), nagrania terenowe, klawesyn, gitara, saksofon sopranowy.

Tutaj fragment.

Ta płyta, nosząca nieco chyba ironiczny tytuł, to silny argument przeciwko tym, którzy twierdzą, że Bosetti robi ciągle to samo.

Con-v 2012, wytwórnia odeszła od swoich całkowicie kartonowych opakowań na rzecz standardowych digipacków. Autor ilustracji pozostaje anonimowy.

Najnowsza rzecz wyszła z dwa tygodnie temu. Znów Monotype, znów spółka Heck/Mirt, znów te dziwne piosenki.

Można sobie teksty poczytać, a tu posłuchać nieco.