live on bandcamp 30/04/2021
The four works on this album are an audio document – a recording of a conversation between two musicians from very different backgrounds. Composer and wind instrumentalist Cameron Harris (Dancing a Stone – Dahinden/Kleeb/Harris) works here with cor anglais and Max for Live creating dense pointillistic pitch-based materials in response to the ambient soundscapes from Crossley’s guitar work.
It is in the technologically mediated moment of meeting that the music/sonos emerged and with a generosity of spirit, these four collaborative ‘moments’ resulted. These works unfold slowly, and can draw the listener into a textural visual journey, once afforded time.
In Harris an augmented double reed sound is created that extends the pitch and timbral nature of the cor anglais while bolstering, rather than undermining it essential spirit. The pastoral, doleful, melodic clichés associated with the instrument are challenged while gritty processing of extended techniques that bring elements of noise into the frame are fostered and brought into dialogue with a dense rendering of the more traditional timbre. This approach provides many points of contract with the guitar.
Crossley’s guitar is ‘painted’ into the text – it swells, with pads and textures looped and layered over each other, delays units bending and warping the texture into grains and shards of echoes. The guitar is joined by a hardware-hacked Suzuki Omnichord and a tin box packed with bent delay units.
The works were recorded as a continuous set in November of 2020, as part of the Bowed Electrons festival.