Label: Editions Verde

凄まじい強度です、持続音マニアは是非!!レッドヴァイナル仕様!!物体の振動方法、音波が人間の耳に伝わる方法、そして脳がそれらを処理する方法等、非常にディープな音響現象を掘り下げ続け2021年12月に他界した米エクスペリメンタル界の巨匠Alvin Lucier。米老舗New World Recordsやelsewhereにも音源を残す米作曲家/ヴィオリストのJordan Dykstraと共に作り上げたLP作[Out Of Our Hands]。Alvin Lucierの楽曲は1969年に[I am sitting in a room]をレコーディングした家へのオマージュとして制作、3人の弦楽奏者によるゆっくりとしたグリッサンドとビートパターンが激サイケデリックな音像として展開。Jordan Dykstraは長時間音程を維持するチェロをベースに、石やハーモニカ、木の葉などのパーカッシブなサウンドを加えたミニマル曲を披露。





“Out of Our Hands” brings together Alvin Lucier and Jordan Dykstra who, through the hands of Ordinary Affects, have created debut recordings of two new compositions. Pressed at RTI for maximum fidelity with a full color printed inner sleeve.

These companion pieces have similar orbits as they were not only both composed in Middletown, CT (where Alvin and Jordan lived for a number of years), but are about Middletown, at least from a starting point. Alvin’s piece — a homage to the location of the house in which he recorded “I am sitting in a room” back in 1969 — continues his study into slow-moving glissandi and carefully crafted beating patters by interweaving three string players within a minor third (voiced by two vibraphonists). The result is entrancing, almost psychedelic, and opens space where one didn’t expect. Like much of his previous work, it is conceptual and process-based; once the wheels get turning they go on and on, giving the listener time to approach the piece, sit with it, and then move back inward.

On the other hand, Dykstra’s piece “32 Middle Tones” (a pun on his Middletown street address and the harmonic microtonality utilized in the composition) is a very textural work. His piece asks the cellist to sustain pitches for extended durations — at times quietly singing in close proximity to the stopped pitch coming from the cello — while the rest of the ensemble (violin, viola, and 2 percussion) voice a sequence of chords separated by notated silences. The cello voice is sometimes alone, but never for too long as it finds itself supported from both the top and bottom in a harmonic embrace. This supportive structure involves a percussion section which colors the seemingly simple chords (major 6th, inverted minor 7th, inverted minor 2nd, etc.) with a non-traditional toolkit of bowed singing bowls, stone sheets, harmonicas, and even leaves.

This is music that gently gives the listener a sense of predictability but always in an unexpected (and subtly indeterminate) shade. Speaking of shade, the album’s cover photo was taken in 2019 in Alvin’s backyard in Middletown. Alvin and Jordan sit with similar demeanors in front of his favorite tree — a crooked aspen which early on looked to be doomed — but which he would often saunter over to spend time with, giving it whispers of blessings and encouraging words.The world was blessed with Alvin’s presence and hopefully this album will whisper to you and yours.

Editions Verde is happy to help distribute this album from Important Records. The record, on red vinyl, comes with the digital download.

Artist statement:
“With Alvin’s recent passing I was overwhelmed with messages and calls from friends, collaborators, and his former students. Everyone had a heavy heart, no doubt, but were grateful for the memories and their gift to be around Alvin during his lifetime of prolific dedication to the arts, his fascination with poetic storytelling through scientifically-inspired minimalism, and his calm and warmhearted spirit. In his last few years on earth, Alvin was busier than ever — brainstorming new ideas, creating new pieces, and planning big things. While he was here, he was alive, and may his music — and spirit — live on forever, spreading from his corner of Church and High (where he recorded his seminal piece I am sitting in a room) to every corner, concert hall, and loudspeaker in the world.”