New(ish) Delicate Sen album available now on Copy For Your Records:
Four Years Later (since. why not)
Billy Gomberg : synthesizers
Anne Guthrie : French horn, preparations
Richard Kamerman : Drums, junk, YouTube, Deicide
I had the opportunity to take part in a very cool project as part of the Another Timbre “Mobiles” project. Link to a description here.
My mobile was mixed/curated by Samuel Rodgers, and includes contributions from Angharad Davies and Rie Nakajima. Other mobiles are curated by Dimitra Lazaridou-Chatzigoga and Johnny Chang.
Although the mobiles are meant to be open and flexible, with the tracks mixed as desired by the listener or even mixed with additional tracks, one realization is available on soundcloud, below.
A new compilation called Psychoacoustic Cartography is available on 14 Tracks that includes a track from Codieaum Variegatum, “Strongly Leaning with Irregular Crown.” Sharing the bill with some great stuff by excellent artists, including Ingram Marshall and Janek Schaefer, check it out if you can!
Roundup of reviews for Codiauem Variegatum. Thanks to all who reviewed!
Last but not least, an excerpt from a review in Wire Magazine, April 2014:
“Anne Guthrie in a acoustician and French horn player whose compositions offer a finely tuned mixture of field recordings and instruments. For material so delicate in its pacing and character, there is a refreshing lack of preciousness about the source material. Sources are indistinguishable as often as they are clear, and treated as often as they are clean, so these piece function neither as authentic documents of a place nor as showcases for instrumental techniques. Codiaeum Variegatum seems more interested in the ability of these elements to create new places by virtue of their juxtaposition and interaction.
It’s a delight to hear the way the pieces slowly find and dissolve form. They are relatively short and contain movements within themselves, yet nothing feels hurried. The most pleasing aspect is the way that questions about methods – is that a loop? Are those birds or electronics? – while present and worthy of attention, are secondary to the overall atmosphere. At the end of the careful and intricate processes Guthrie employed to craft these pieces, she is asking us simply to sit back and listen.”
-Matt Krefting, The Wire
Bill Meyer has published a nice review of Codiaeum Variegatum in the Chicago Reader, available in print or online.
A review is up at Anti-Gravity Bunny, along with a track excerpted from the album for streaming.
Lucas Schleicher has posted a fabulous review of Codiaeum Variegatum at Dusted. Thanks Lucas!
Lovely review of Codiaeum Variegatum by Matt Gilley at Fluid Radio!
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. ”