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improv sphere review for “so it’s inverted”

Julien Héraud has written a very nice review of my cassette on Notice Recordings. You can find it in the original French here.

A rough English translation (thanks to Travis Bird at Notice) below:

” I’ve received with great enthusiasm all the previous recordings of Anne Guthrie, and it’s not today that that will change, especially with this tape. For those who know her work, this one is less surprising than her recent duo with (Richard) Kamerman. Here, she does more what she’s known for: the dialogue between incredible field recordings and radical French horn playing.

I like cassettes a lot to begin with, and I find that the format works particularly well here, in the way in which the texture of the tape adds to the overlap between field recordings and instrument. Recording with a parabolic microphone in Costa Rica, Guthrie captured flowing atmospheres that don’t yield many clues. They are abstract recordings that are mainly interested in the physicality of sound, with very little sonic evocation or representation. But, far from boring the listener, Guthrie is able to achieve an almost linear narrative in these recordings, sometimes looped, sometimes treated, but always in dialogue with the horn.

The recordings mainly come from a port, which leads to an inevitable juxtaposition: the horn literally drowns in the stream of the recordings. Breaths meld with wind, masts tremble gently in the wind, and soon there’s a deep confusion between the sources. A rich, dense dialogue where the extended techniques and the recordings overlap, then become distinct. They talk and support one another, one seeming to draw the border of the other, but a primordial focus reigns: sound as a physical phenomenon, whether from nature, process, or instrument. And this phenomenon is explored just as well by the instrument (itself recorded) as by the recorded sonic environments; instruments and environments are captured and traded in the same way: a sensible, physical treatment, narrative and poetic. ”

-Julien Héraud

Wire review for “so it’s inverted”

Wire magazine has included a lovely review of my cassette on Notice Recordings in the “Size Matters” section of their September issue:

“Very fine collaged suite of field recordings from Costa Rica and live French horn playing, by this young Brooklynite. The blowing is all pretty much post-form – lots more breath manipulation than anything your dad would call ‘a tasty lick’ – but it fits together beautifully with the soundscapes, and makes for a dandy earful of listening pleasure.” -Byron Coley

Fraufraulein composition performance

A new composition for free ensemble written by Billy Gomberg and I will be premiered as part of the Transient Festival.
The piece, titled Remarks on Color, uses musical transcriptions of text by Wittgenstein and electronics in a spatialized, indeterminate work that attempts to exploit the differences between direct and reverberant fields in the room.

II.7 Bandwidth
Saturday, June 29, 2013 8PM
Willow Place Auditorium
26 Willow Place, Brooklyn
Tickets $10

Event Page

Timeout Listing

The program includes pieces by James Tenney, Michael Winter, and Laura Steenberge. Hope to see you there!

ErstAEU showcase at IPR!

It’s gonna be EPIC.

Saturday, May 25
Issue Project Room
22 Boerum Place, Brooklyn
7 PM

Issue listing

Timeout listing

Sinter on WNYU

Richard Kamerman and I played a live set on WNYU on Saturday, May 18 hosted by Bedroom Athlete’s Tyler Maxin. Jon Abbey joined us to talk about the ErstAEU label and the first 3 releases. You can hear our set here. Hope you enjoy!

Sinter Reviews Roundup

BW Diedrich wrote a very nice feature on the first 3 ErstAEU releases here .

William Hutson reviewed the 3 ErstAEU releases together in the June 2013 issue of Wire Magazine. Here’s what he says about Sinter:

“Anne Guthrie and Richard Kamerman’s Sinter is a tough little disc, possibly influenced by recent Erstwhile outings by Taku Unami. There’s an element of mystery, and plenty of moments where you wish you could watch the sounds being created to glean some insight. “Porcellino” sounds as if a recorder got left on in a room where people were carelessly moving things around, turning a hand-crank and dropping objects in buckets. “Origami 1/5″ is all cassette tape scrubbing and ground hum. The duo reverse the old axiom about there being no accidents in jazz – Guthrie and Kamerman make music that sounds completely, wonderfully accidental.”

Brian Olewnick’s review on Just Outside here.

Bill Meyer’s review on Dusted, here.

Free Jazz weekend roundup here.

And for the multilingual among you:
here
and here.

“so it’s inverted” Vital Weekly review

Frans de Waard of Vital Weekly has a lovely review of my new cassette on Notice Recordings. Reposted below:

ANNE GUTHRIE – SO IT’S INVERTED; OCCUPYING THE SAME POSITION AS ALWAYS (cassette by Notice Recordings)
From New York, Anne Guthrie is a horn player, of whom reviewed music before, like her ‘Perhaps A Favorable Organic Moment’ in Vital Weekly 786. She uses also field recordings, which she uses alongside her playing. On this new cassette she uses field recordings from Costa Rica, and she uses them extensively. On top she plays her horn, but it’s never easy to tell what, when and where here. Likewise it’s not easy to say to what extend she has processed these field recordings, if at all. I am pretty sure she did, to some extend. Maybe creating loops out of the material, maybe some radical equalization, and then cut along with her extra-ordinary playing of the horn, which she uses to produce some really wild sounds which may sound like anything but a horn. It gives both sides, one piece per side, a feeling that they belong to each other, two sides of the same coin. It’s all quite mysterious; you have no idea what’s going on, field recordings aren’t easily recognized as such, nor is the horn playing, but that mystery makes this all the more captivating I think. A sound world of it’s own. Excellent.

Read more here

Notice Recordings cassette release

New cassette available on Notice Recordings! Crunchy French horn sounds and field recordings from Costa Rica and South Street Seaport. Purchase here.

ErstAEU release with Richard Kamerman: Sinter

Brand new for-real CD on ErstAEU (of Erstwhile origins) with Richard Kamerman! Reviews (i hope!) and release show news to follow. Enjoy!

Erstwhile Website

ErstAEU Facebook Page

New Composition

It’s several months belated, but I’ve finally posted the recordings from the performance of my latest composition from February 2012. The piece was commissioned by Thomas Buckner and performed at Roulette in Brooklyn, using text by my dear friend Lily Robert-Foley. I’ve posted 2 versions, both using the close-mic signals from each instrument and spatialized in binaural format using an acoustic model of the venue. Version 1 has sound absorbing treatment (the space was configured this way for the live performance) and Version 2 has no treatment (the original configuration of the venue when it first opened to the public). I think they both give the music interesting and very different characteristics. Enjoy!