Phill niblock - touch five - touchshop.org | Phill Niblock - Touch Five | Touch TO:91.


“These CDs include pieces made in two different ways. Traditionally (since 1968), I recorded tones played by an instrument (by an instrumentalist), arranging these single tones into mutli-layered settings, making thick textured drones, with many microtones. In the early days, I prescribed the microtones, tuning the instrumentalist, when I was using audio tape. Later, I used the software ProTools, and made the microtones as I made the pieces. FeedCorn Ear and A Cage of Stars were made this way. In 1998, Petr Kotik asked me to make a piece for orchestra, so, I began to make scores for the musicians to play from. The form of that piece, and the subsequent six scored works, were patterned after a piece in 1992-94, where the musicians were tuned by hearing tones played from a tape through headphones. These are the instructions for the scored piece on the second CD, Two Lips. The score was prepared by Bob Gilmore, from specific directions by me. TWO LIPS, aka Nameless, is conceived as two scores, A and B, to be played simultaneously, lasting 23 minutes. Each score consists of ten instrumental parts. The twenty separate parts should be distributed randomly amongst the musicians of the ensemble; the ‘A group’ and the ‘B group’ are not separated spatially.”

The Nelly Boyd Ensemble, Hamburg – Robert Engelbrecht, cello;
Jan Feddersen, piano strummed with nylon strings; Peter Imig, violin; Jens Roehm, acoustic bass guitar strummed with nylon strings or e-bow

So, Niblock's involvement with the drone is certainly one of an existential dimension, but there is also the fact that he was born a Libra 70 years ago under a constellation which leaves people to wander their entire lives looking for a certain kind of balance. With his music Niblock has found such a balance, or perhaps a state where organized sound floats and stands still at the same was first introduced to many of the pieces on 'Touch Food' when I had the opportunity to witness one of his live performances at Glasgow's Instal Festival in 2002. The music was loud, the screenings large and bright; time seemed to stand still. We, the audience, found ourselves lost in a simple and pure unit of hypnotizing beauty. It was certainly one of the greatest performances I've ever experienced. Niblock's second release on Touch the double CD comprises three compositions for solo baritone sax, electric bass and clarinets; and a 70 minute piece for piano. Each piece follows his trademark method of having instrumentalists play long, held, pure tones or - in case of the piano piece - almost static movements which he layers track by track by track to create a long, slowly crawling tonal band that allows the frequencies to melt into each other to form a frozen momentum of eternal sound. 'Yam, almost May' for electric bass is an outstanding piece. Based on material performed by the French composer and software instrument designer Kasper T. Toeplitz, it has a hovering quality, like a shuttle into warmth. Meanwhile 'Pan Fried 70' features composer and pianist Reinhold Friedl playing the strings of a grand piano by working on them with another loose string, representing the other side of the sonic and emotional spectrum with its clangings and screeches of tortured metal. The effect of this long piece is breathtaking. 'Touch Food' is, in short, an exceptional collection of works by one of the outstanding composers of our time.


Phill Niblock - Touch FivePhill Niblock - Touch FivePhill Niblock - Touch FivePhill Niblock - Touch Five

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