Endurzbo (for heartbeat and 8 instruments) (22:49)
March 2006 Railyard 2 Santa Fe
Daisy, botree, BMC, wheely wheely, springer, gurd, dish, bootzilla
Played by: Alex Ferris
Endurzbo took the place of a recording I had planned to make with Gaspard. He was a proponent of ‘pure noise’ and I thought it might be interesting if we made a pure noise recording, i.e., one without any specific tonal elements, of purely acoustic sounds. He injured his leg in a work related accident and couldn’t get to town for a few weeks. The idea of making a non tonal piece had been on my mind, so I went ahead with the idea on my own while the ideas I’d had around it were fresh in my mind.
I used the same recording of my heartbeat heard on Un Coeur Simple as the drum track, but this time I made no attempt to play inside of its sound. I was intrigued by the idea of playing a “noise ballad” and decided to use the heartbeat to root it in a sort of contemplative mood (if I had to name a musical ancestor for this piece –and Un Coeur Simple-- it would be Josquin). I wanted to avoid the (to me clichéd) jarring transitions that characterize so much ‘experimental noise’ and allow the changes in sonority to evolve gradually instead. Particularly I wanted to attain a kind of naturalism in noise I feel is generally absent from technologically created sounds (not a single square wave anywhere within earshot). Also interesting to me was the idea of working in the alto and tenor registers (which had been my intention when the plan was to collaborate with Gaspard, who has a penchant for the treble). The bass register, filled with the “hum” (‘cantus firmus’) of Daisy and punctuated by the hearbeat, didn’t require much attention. I took as an interesting challenge the task of generating a large and dense mass of sound akin to those heard at performances (not uncommon at High Mayhem) consisting of a couple of guys fiddling with laptops or tweaking some knobs on effects boxes.
Considering Rashomon and these two responses to my heartbeat, I was obviously thinking a lot about parallax and rhizomism during this period, likely a subconscious response to presence of collaborators in my soundworld.
The title refers both to Merzbow (to whom this is respectfully dedicated) and the physical energy required to generate this much sound without any looping, sampling, or other electronic replicating and/or generating devises.
I price all of my music at $0.00, but Bandcamp only allows a limited number of free downloads per month. If you see a price it means that the free downloads have been used up for the month. If I set a price lower than the $7.00 default, there won’t be any free downloads ever. If there are more sales there end up being more free downloads. I’m not trying to get anybody to spend money (I loathe capitalism and the comercialzation of everything, especially the arts). I make music, not product. If you end up buying something, at least you have enabled 2 other people to get something for free (which is a good thing). Or check back until it’s free again. Please feel free to duplicate and pass along.
released August 27, 2014