Chris Lynn & Daniel Barbiero - Augmented Landscapes [zero162]
- Artist: Chris Lynn & Daniel Barbiero
- Title: Augmented Landscapes
- Format: Net Release
- Release Date: Jun, 2014
|3||Purley at Night||9:50||MP3||Flac|
|2||A Delay in Sound||13:08||MP3||Flac|
|1||Indigo under Lapis||8:51||MP3||Flac|
Augmented Landscapes is a collaborative work melding acoustic and electronic sound elements with field recordings.
The acoustic element is provided by double bass and prepared double bass, played along a continuum of conventional and extended techniques. The electronic element, which consists in the granular synthesis of acoustic double bass performances, broadens the instrument’s sound palette to encompass varied and unconventional colorations.
When these elements are matched to the overheard sounds captured by these field recordings, a perspective emerges that is analogous to a hypothetical landscape augmented by a multiplication of dimensions both sonic and spatial. Points of reference shift as aural features constantly rearrange themselves in relation to each other, creating a series of gestalts in which figure and field alternate, blend and separate in varying combinations. Here familiar sounds mutate into something unfamiliar before becoming familiar once again.
Chris Lynn: field recordings and cover photo
Daniel Barbiero: double bass, prepared double bass, and granular synthesizer
Another interesting recording from bassist Barbiero, here with Lynn providing field recordings. More, Barbiero (I believe) does some processing of his bass; one often hears both the acoustic sound and the enhanced one, each set among Lynn's recordings. The structures feel somewhat free, though more in a contemporary classical sense than a jazz one, Barbiero's approach stemming, to me, more from the Turetsky angle of attack, even if I pick up shades of jazz bassists hear and there as well. The forms and enhancements can be problematic as well, the former sometimes meandering a bit much, the latter (as on the second track, "A Delay in Sound") seeming to be more simply effects rather than having a real reason for being. What carries the recording is Barbiero's sensitivity and clear proficiency on his instrument; no matter what else, this is always something to hang onto and enjoy. When things work, as onthe final cut, "Prepared Chance" where the bass and recordings really seem to exist in the same landscape, the music as a whole is fine indeed. ~ Brian Olewnick