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Label & Cat.Number: INI.ITU ini.itu 1303
Release Year: 2014
Note: second LP release on Ini.Itu for this "ethnographic surrealist" (David Toop) from USA/Australia, based mainly on the sounds of a Kalan (a trapezoid-shaped instrument resembling a hammer dulcimer)...''sticks with heads in the shape of lunar crescents; cyclic and elusive sacred waters minimalism'; lim. 250 postcards.
Price (incl. 19% VAT): €13.00
More Info"Kraig Grady is a composer and a sound artist. He has been described by David Toop as an Ethnographic Surrealist. Born in California in 1952 (of Ojibwe Indian ascent), he is now residing in Australia. It is our desire to represent here the various ways in which both the music and the escarpments of Anaphoria form bonds in a variety of settings. Widely recognized by even recent immigrants, Anaphoria is known as a place where the land just feels different than other places. To capture these sensations, music is the favored medium where the external and internal terrains become one. Sand, Dust, Relics : From one of the small but increasingly technologica l urban centers of Anaphoria comes this anonymous musical homage. It is not without a touch of nostalgia as it attempts to capture a rural landscape experienced during personal pilgrimages. Grasses, Tundra, Terrains represents another homage of a similar but different landscape. Cliffs, Crags, Gravel : As tough, rugged and persistent as the beggars who play them, the Kalan is a trapezoid-shaped instrument resembling a hammer dulcimer or santur. It is played using sticks with heads in the shape of lunar crescents to draw upon the energy of this heavenly body. Despite the beggars' tendency to 'play the crowd', this music 'plays the terrain' by acknowled ging both the rough, outward landscape as well as the emotions rooted in their harsh and jagged existence. Headwaters, Cascades, Torrents : Whenever the music in Anaphoria embraces water, it is commonly found on one of these Meta-Slendro metallophones. The unique locales of water are frequently punctuated with many of the island's sanctuaries. In a sense, the cyclic, elusive, and ever-changing nature of water in this piece also reflects the nature of these sacred sites. The composition itself is a series of reflections from the water's edge that might be strictly adhered to or act as fluid guideposts for the performer. Here they follow the flow and nature of water more than adhere to the consuming nature of fire or the rigidity of earth." [label info]
"Behind Anaphoria we find Kraig Grady from Australia (although born in California of Ojibwe Indian descent) and he too had an album on ini.itu before (see Vital Weekly 699; it's great to see artists returning to this label, I guess). Here he has album under the name Anaphoria, like before, but I am not sure when he uses this name or his own name. Grady explores microtonalism with exotic instruments. They are not mentioned on the cover, but the press release mentions the Kalan, a trapezoid-shaped instrument resembling a hammer dulcimer or santur for 'Cliffs, Crags, Gravel', which reminded me of the LP by Michael O'Shea on Dome or Laraaji on Editions EG, but I believe Grady doesn't use any electronic treatment. In the two other pieces on side A it's not easy to say what kind of instruments are used, but their sustaining character made me think of an organ, or sine waves or something like that. On side B we have one long track make the 'Meta-Slendro metallophones' and has a watery feel to it, which I believe to be the intention of this piece. A minimalist outing too, with the singing and ringing of overtones working very nicely around here. An excellent record and a further expansion of the musical field of Grady." [FdW/Vital Weekly]
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