Friday, April 8, 2016
graham dunning - at home with spanish (tape/digital, self-released)
automated machines, turntable sculptures, pulleys and gears and locked-groove repositioning, lining up in phase and falling out, turning and mechanical sounding, grandfather clocks ripped open and modified to fit futuristic alleyway chaos, rebellious and lulling and meditative once inside the grips, levers triggering newer sounds of repeating charm, hardened noises softening and burning off with the embers of long smoke curled mesmerization. chugging away in existential re-purpose, churning under the same functioning part-thing, embellished the time cut back to a forced and slightly changing beginning of a tick-tocking structure set to always begin.
british sirens finalize side one with real time pass solution, and is a brilliant moment of life surrounding art, and even those sound chopped and taken from another time's beginning/being to be reinterpreted over again.
generally it's the polyrhythms created through the tumbling surfaces that bring it all to be, and the space given to rudimentary and secondary findings prop up the dronier cause and effect, and when everything gets silent and open, as side two starts say, the magic lies inside what we hear, and our brains want to dissect further into what we're perceiving, as hiss and a pure nothingness brings a drama beyond technique, implied even, they sweeten the compositions through subtraction and an expert minimalism. i can't listen stronger, yet i'm totally relaxed.
the two pieces vary greatly from the 'music by the metre' prowess and show the wild coverage and expanding universe we're dealing with when the gear gets the floor, a robotic come-to-life manufactured and studied behind the veil, touched and pieced together over a philosophy-meets-randomness testing, practice makes perfect (as the sculptures will always inherently be themselves), and there's a real power in that kind-of artistic installation, where mind over matter turns and returns matter over tape.