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REED, RICK - The Way Things go

Format: do-LP Label & Cat.Number: Elevator Bath eeaoa035 Release Year: 2011 Note: a collection of evocative drone-compositions rec. 2001-2010 by this interesting US American artist also working as a painter; comes in gatefold cover displaying a square landscapes of his paintings; edition of 515 copies + download card Price (incl. 19% VAT): €25.00 More Info "Here, finally, is the gorgeous presentation that astronomy domine Rick Reeds music so richly deserves: Two black vinyl LPs, pressed on 180-gram virgin vinyl, with full-color labels, inside black poly-lined sleeves, housed in a matte-finish full-color gatefold jacket adorned with Reeds vibrant and fantastically evocative paintings. Included with each copy of this set is a full-color download card featuring access to high-quality MP3s of the complete contents of the vinyl records. This package has been issued in an edition of 515 copies. - - - - Welcome to an atmospheric realm of blurred synth drones, textural shortwave radio, and vivid sine waves. Welcome to the highly individual sonic world of Rick Reed. For around 25 years now Reed has been toiling away, composing, performing, and fine-tuning his craft of very personal and powerful electronic meditation. And his expertise is plainly evident. His is incredibly engaging music with an almost physical presence. Reeds level of mastery is virtually unparalleled - it seems that no one else can combine these elements with quite the same finesse, with the same ear for arrangement, or with the same sense of purpose. If Rick Reed is not yet a household name it is likely due to his relatively slim body of work. 'The Way Things Go,' then, is an attempt at resolving this issue, for here are 83 worthy minutes of top-shelf electronic tonalities. 'The Way Things Go' covers a span of eight years of work, and yet the material flows very naturally from one piece to the next. Yes, the evolution of technique is on display here, but Reed found his voice some years ago and his stylistic development has therefore been suitably subtle and deliberate. This is the work of a composer who is extraordinarily familiar with the sounds at his disposal and whose editorial skills are equally honed. Massimo Ricci, inspired by one of the pieces in this set (Hidden Voices, has noted: I can't stress enough the importance of composers like Reed, who thrive in semi-obscurity and without the praises given to people [worth] less than half their value, continuously finding alternative interpretations of the word 'emotion.' The observation is astute and the idea of an emotional presence is crucial to understanding Reeds work. His music is sometimes noisy, sometimes tranquil. Harsh frequencies give way to beautifully sustained tones. Jarring textures and lilting melodies are both to be found in this sphere. Above all, though, Rick Reeds work is challenging. There is no easy classification for music of this complexity. The curious listener is best advised to investigate personally. In addition to his solo work, Rick Reed has participated in a number of productive collaborations over the years with Keith Rowe, Jgrzinich (in Frequency Curtain), the Abrasion Ensemble, and SIRSIT, among others. Reed's music has previously been released by labels such as Ecstatic Peace, Beta-lactam Ring Records, and Elevator Bath. He currently resides in Austin." [label info] www.elevatorbath.com "Over the years Rick Reed has played with Keith Rowe, Jgrzinich (as Frequency Curtain), Abrasion Ensemble and Sirsit but also explored the world of drone music as a solo artist. Hard to say what he does to create his drone moves. One could easily think of a bunch of analogue synthesizers, or perhaps heavily treated field recordings. Maybe its all computer work? One look at the cover though and its revealed: moog and EMS synthesizers, sine wave generators, shortwave radio, found radio sounds and voices. The pieces on this double album are from anywhere between 2001 and 2010 - the title piece. Its both an excellent overview of his work and a very coherent body of work. One could easily argue that in those ten years Reed didn't progress at all, and that his approach to composing stayed rather the same. That's one way of looking at it. One could as easily argue that it all makes up for a very consistent approach that reveals a fine craftsmanship in creating dense electronic landscapes. In those ten years Reed never released much work, so its hard to say that he is overproductive and that 'it is always the same'. I thought this was all excellent music, a fine cross road of musique concrete and electronic music.Taking the best out of cosmic music, drone and experiment and put that into all immersive music. Music that sucks you totally into in it, like a hot bath, especially when you play it loud. Very refined." [FdW/Vital Weekly]