Erasures and Displacements

by Bill Seaman

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LAST 5 COPIES AVAILABLE soon (mid-august) on :
- Experimedia (US) : www.experimedia.net

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Date : 06.06.16
Map point : eilean 78
Color : blue
Season : summer
Duration : 84.48 mn (42.32 mn + 41.16 mn)
Edition : x 2 discs, limited to 180 copies

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Disc 1 :
01 - A Visual Record Of Scratches Reflecting On Time
02 - A Structured Removal, The Balance Of The Pulse
03 - Collections Of Relational Introspections
04 - Altered Instruments, The Removal Of Time
05 - Entering The Library Of Collapsed Moments
06 - The Somber Space Of A Word
07 - Watching From Within The Library Of Melancholy Gestures

Disc 2 :
01 - A Circulated Compendium Of Machinic Thoughts
02 - The Lie Of The Perfect Empty Set
03 - Slow Motioning Through Scattered Reflections
04 - The Reflections Inherent To A Chosen Room
05 - The Machinic Exhale
06 - The Sea's Enfolded Signatures
07 - The Illusive Space Of A Thought

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"I often work by making libraries or asking people to contribute a library. With the contributed library I often give the players simple verbal instructions, or sing notes I am interested in including. With the piano, I sit down and do a series of improvisations. I then go though these and edit my favorite parts, building a series of fragment libraries, some with little or no abstraction, some greatly abstracted with Ableton Live. To make the library I basically “erase” most of the recording, and “displace” it by building up a new set of musical relations in Live (hence the title of the album) [although there are many readings to these two terms]. I compose in a very sculptural manner with Ableton, dragging things in from the libraries and trying things out often exploring chance related juxtapositions. I build up structures, cut/copy/paste complex layered sections, erase sections that are not working, loop things, and slowly construct a track going though many iterations. I often later cut away at the built up tracks, and edit the piece down, further articulating a structure. I often finish with having between 30 and 50 tracks. In the final set of passes I fully articulate the psychoacoustic space, working with panning, eq, distortion, abstraction, and reverb. I further edit and structure the parts that begin to “work”. Along with the piano I make Libraries of DX7IIE sounds, electronic beats, mellotron, electronic micro-rhythms, non-location recordings from noises found on the internet, orchestral abstractions, midi instrument libraries— violin, cello, woodwinds, and I also employ highly abstracted piano. I have additionally included a library of supercollider abstractions. I also build libraries of ‘abstract’ guitars, playing alternate instruments through synthetic and or real amps. This method allows me to work very quickly and intuitively.

Question – are there any sounds from 78s in this recording? "

(Seaman 2017)

www.billseaman.com

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VIDEO : www.vimeo.com/219082794
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credits

released June 6, 2017

Seaman – piano, non-location recordings, ebow guitar, DX7IIE, mellotron, samples, sample arrangements and ableton live abstractions. production.
Owen Sidney Richardson — contrabass and electric bass guitar library
Craig Tattersall — synth bass library
Robert Ellis-Geiger — trumpet, cornet, flugelhorn library
Jonas Braasch — horn library for "The Sea’s Enfolded Signatures"

Artwork by Francisca Pageo
Mastered by Mathias Van Eecloo
Inside Photography by Mathias Van Eecloo
Design by Rémi Verdier

Special Thanks – Craig Tattersall, Mathias Van Eecloo and all of the instrumentalists.

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eilean rec. France

the label is based on a map with 100 points. each point is associated to a number. each number to a release.
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