Label: Shame File Music

ジャケットデザインも素晴らしい高内容作！！ジョン・ケージ、ゴードン・ムンマ、デビッド・テュードアの影響下、コンタクトマイクや自家製カートリッジを用い小さな音響のアンプリファイ録音に勤しむIan AndrewsのプロジェクトAstasie-abasie。オーストラリアのエクスペリメンタル界を支えるShame File Musicの出版物で、"分子ガムラン"と題された小さな金属物体音の反復演奏記録。ハンドドリルやフィルムワインダーを使ったミニマルなジェスチャーアクションで小さなワッシャーを演奏、そのサウンドは本場ガムラン同様の繊細な奥行きと重さを持つ極上の音色。円形の金属写真をそのまま使用したアートワークが非常にカッコイイ。

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This album is the first in a series of experiments exploring the magnification of the small sounds of small metal objects such as washers.

The chaotic but inherently repetitive patterns created by the interaction between the objects has been realised through a minimum of gestural action by way of a number of distancing strategies, such as the use of hand drills, film winders and motorised drills/screwdrivers.

Astasie-abasie is a project of Ian Andrews which evolved out of a long running performance collaboration with Garry Bradbury. The project focuses on the amplification of small sounds (following the approach of John Cage, Gordon Mumma and David Tudor) through the capture of sounds generated by small objects by way of contact microphones, home constructed cartridges, miniature piezo microphones and conventional microphones. Various devices are used as constraints in order to distance any performing gesture of the artist from the compositional process. The compositional process is, in this sense, aleatory and close to automatic. Much like field recording, sounds are found rather than performed or manipulated. Modified, or ‘prepared’ turntables are often used to bring about the sounds, after which any editing of the material is kept to a minimum.

Ian Andrews works across a number of disciplines including film and video, sculpture, installation and collage, poetry and writing, in order to explore questions relating to utopia and modernism, technologies and the post-human. The work attempts—via a strategy of deconstruction and collage, and the critical juxtaposition of appropriated materials—to locate the point of fracture in discourses of power and discursive regimes, and put into question the organising structures, and break the syntax of the accepted sedimented frameworks that keep thought rigid and ultimately hold us to ransom. His contribution to Australian experimental music reaches back to the early 1980s, including projects like The Horse He's Sick, Kurt Volentine, Cut with the Kitchen Knife and countless others.