Label: Pogus Productions - 21070-2

ドリームハウスで見たラモンテ & マリアンのインスタレーションに感化され制作したという、ニューヨークのポピュラーバンド"Yeah Yeah Yeahs"のドラマーとして活動するBrian ChaseのソロCD。米アヴァンギャルドを多く手掛けるPogusからのCD+DVDのセット作。どうやら純正律チューニングのアイデアを取り入れたらしい(?)コンピューター&一つのドラムというシンプルなセットでの録音。これが想像以上に恍惚&催眠的な素晴らしい響きとなっており、特にドラムの乱打が激しい中盤のトラックはかなりの内容。DVDにはその音にモノクロの明滅、ランダムな線の動きを付けたシンプルな映像を収録(これもかなり良い)。激激オススメ。

>>SAMPLE<<





The Drums and Drones project initially came about from inspiration by La Monte Young and Marian Zazeela's Dream House installation in TriBeCa, NYC. I had spent a good amount of time, volunteering there as a 'monitor,' someone who minded the installation and greeted visitors. The duration of my shift, about 4-5 hours, was mostly spent sitting directly outside of the gallery space, listening and feeling the immense sound pulsing through the door and walls, and reading up on the principles of Just Intonation and the historical background of La Monte, Marian, and their cohorts of the NYC experimental art scene. I accumulated countless hours, too, sitting in the space itself, embracing the impact of the finely tuned sound and light vibrations. The tones would dance in my head, hypnotic and entrancing, and I would hear tones that previously seemed veiled which were now resonating loudly and clearly somewhere between the air, my ear, and my brain. I was mesmerized by the power of this physiological experience.

With the pieces that were developed for a Feb. 2007 concert, a starting point was formed for what was to grew into a recording project. I had the idea of approaching the project as being a series of etudes, each one a study in the different ways of the application of the Just Intonation tuning theory to drums and percussion. Eventually I did develop a basic method which laid the groundwork for most of what was to come with D & D: 1) tune the drum head to a specific frequency 2) mic the drum and run the sound into a computer 3) with recording software, use very precise, a.k.a. 'surgical,' equalization to emphasize and boost the frequencies of the drum's overtones. Also as part of the setup was a loop pedal, but at this stage it was used more for live performance. Another important method that I developed at this stage was getting sustained feedback tones generated between the resonating drumhead and the stereo speakers. To do this, I would boost a specific frequency on the EQ corresponding to the fundamental or a low harmonic, and this would encourage the drumhead to vibrate at that frequency. A feedback loop would get going between the drum and the speakers. Often times I would need to raise or lower the pitch of the drumhead ever so slightly to 'dial in' the tuning of the feedback tone. Each etude developed at this time would highlight a different set of overtones and showcase a specific playing technique.