Posts Tagged ‘Aisha Orazbayeva’

SN Variations – 5th July 2019

Christopher Nosnibor

Having read the press release, and from my previous – albeit somewhat limited – experience of lock grooves, I had expected something overtly technical and perhaps somewhat tedious:

‘A lock groove is one cycle of one groove on a record. This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM. Having used lock grooves on film scores for British film Waiting for You and The Have Nots directed by Florian Hoffmeister, Corker wanted to explore their potential further in a standalone more percussive release. He used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. The process is similar to print processes in the visual arts where there is a high degree of unpredictability in how the eventual lock groove is recorded and then plays. Also because of the softness of the acetate the lock grooves break down as they are re re-recorded causing unexpected effects as the needle carves away the surface of the vinyl. This generative process adds layers of unpredictable noise culminating finally in white noise. These are combined forming frames for performances of violin, percussion and piano. The pieces reflect on the tension between the mechanical and the human gesture/expression and place where they merge.’

The album is split across two sides: ‘Inflow’ and ‘Outflow’, with each comprising three pieces. Rhythm is at the forefront of the pieces. Not solid, beat-built rhythm, but repetitive swells of sound. The close-packed humming loop that forms the foundation of ‘Inflow Part 1’ is gradually overlaid with a range of other sounds which repeat at varying regular frequencies, an immense, dramatic crash leading to a sustained crescendo. ‘Part 2’ pairs an echoing piano note and a picked string which vibrate off one another in a space between accord and discord, and it’s discord that marks the mood on ‘Part 3’. The album’s longest piece finds Corker develop tension through the juxtaposition of elongated drones and stabs of rumbling piano and sharp strings before building to a large swell of sound that fizzes and hisses white noise around the cavernous conglomeration.

‘Outflow Part 1’ creates a different kind of tension, with harsher sounds – buzzing, grating, distorted sounds looped in short, fast repetitions that get into your skull and raise the blood pressure. I’m actually typing visibly faster, and not for the first time I’m aware of the way music affects the listener in ways beyond subliminal mood adjustments. ‘Part 2’ is subtler, more subdued as an ominous drone hovers beneath scratches and scrapes. and leads into the slowly-shifting ‘Part 3,’ which transitions through a gentle pulsation to a wail of straining violin.

And however technical its construction, it’s far from tedious.

AA

Adrian Corker – Music For Lock Grooves