Label: Sedimental - SEDCD039

割とノイジーなドローン作品も多くやっているBrendan Murrayの実験アンビエント。元はKissy RecordsからリリースされていたミニCD-R[Garden]の新たなミックスに新録3トラックを合わせた編集版。2001〜2004年の間に制作されたもので、ディープな残響持続音やシンプルな鐘の録音など、全編通してかなり浸れる内容です。


>>SAMPLE<<

I composed Resting Places on and off over three years. It was originally conceived as four separate releases that could be heard in succession. After the first piece, 'Garden,' was completed and released as a cd-r on Kissy Records using a markedly different mix, Idecided to force the structure on the listener andpresent all four pieces at once. The pieces are all inspired by thoughts about sloth, leisure and expiration and how all of those thingsmight inform one another. That simple, severerealization that we have when we are really young: 'We are dying from the second we are borne.' It's not meant to be as weighty as it sounds, but I tried to use that perplexing and morbid thought to inform these pieces. The result is not a serious meditation on mortality by any means. These are not requiems or 'drones of death'. I wanted to use these very vague (and overused) concepts that everyone has to contemplate as starting points for the tone that informs all of these pieces: how do specific locations help us to feel alive and confortable or confused and dying or both? What happens to the places we live and die in when we leave them? Do they feel anything?This cd is very different from my first one, Not Now, which was much more about tentative and suspended moments. It's much louder and warmer and more succinctly addresses the musical concerns (repetition, drones, deliberate editing) that have interested me since I started making music on my own some 10 years ago. From a technical perspective, almost everything on this CD was played live in some form or another. 'Garden' and 'Bed' were composed entirely on the computer from samples of instruments and cassette tapes. I then pared down the compositions into minute loops for live performance. 'Shore' and 'Tomb' were created in the opposite fashion. I created loops with the phrase samplers I use live from various sources (acoustic and electric guitars, cassette tapes of field recordings and sounds from transistor keyboards and radios) and played the pieces as a whole. I then edited those live recordings on the computer. These are pretty simple methods; however, it took me three years to make up my mind as to what should go where. Brendan Murray