1000 Richard Francis ED. 30 LATHE eso steel birchville cat motel the dead c NZ
$
49
$ 49
Sold For
Oct 5, 2012
Sold Date
Sep 28, 2012
Start Date
$ 20
Start price
6
Number Of Bids
USA
Country Of Seller
eBay
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Description
1000 [Richard Francis/Clinton Watkins]- One Step Further From Birth LP (CMR )
Tremendously limited LATHE CUT 12" EP from Richard Francis (Eso Steel/20 City/With Throats As Fine As Needles/Small Blue Torch/Plains [with Watkins, Mark Sadgrove and Thela's Rosy Parlane]/sometime Birchville Cat Motel collaborator) and Clinton Watkins (Plains/Nights). Richard Francis more recently has been working with The Dead C's Bruce Russell, most recently on the book "Erewhon Calling: Experimental Sound in New Zealand Book" co-released by CMR and Audio Foundation NZ.This is an EDITION OF 30 COPIES ONLY
Richard Francis: analogue synthesizer & computer
Clinton Watkins: electronic devices & computer
Recorded 10 September 2010 at Arch Hill Studios, Auckland, NZ
33 RPM Lathe-cut
12" is MINT- (I consider all new lathe discs as mint- because the nature of lathe discs is that some surface noise will be present, this is normal to the process of making the discs)/Cover is MINT-.
Tracks are:
A. Traditional Joint (15:08)
B. The Still (11:33)
1000 joins an elite cadre of inventive sound artists from New Zealand's underground who have helped bring the nation an international profile in the avant garde world, artists including The Dead C., Sandoz Lab Technicians, Thela, Parmentier, Rosy Parlane, Birchville Cat Motel, Pumice, CJA & Armpit, Peter Wright, Antony Milton, Witcyst, Gate, Rachel Shearer & Lovely Midget, Eso Steel, Greg Malcolm, Eye, White Saucer, Sam Hamilton, Tim Coster, Doramaar, Rain, Surface Of The Earth, K-Group, RST, Three Forks, Ray Off, Rory Storm, Small Blue Torch, Seht, Ben Spiers, 1/3 Octave Band and countless more.
Sharkwhite blog says of 1000:
Since 1994 Clinton Watkins and Richard Francis have worked collaboratively under the moniker 1000. They regularly perform and produce recordings that focus on creating stark and intense minimal/maximal compositions of electronically generated noise. One Step Further From Birth, which is part of our upstairs group show of works by represented artists, is a limited edition lathe-cut LP.
From Audiofoundation on Clinton Watkins:
Clinton Watkins is a sonic and visual artist. He is known primarily for his moving image works which dwell on often overlooked visual phenomena, such as the giant cargo ships that quietly drift in and out of the Auckland harbour. Clinton recently completed his Doctorate of Fine Arts at Elam School of Fine Arts.
Watkins also works as a practicing musician who regularly performs as a solo and collaborative artist and is an active member of the minimal electronic improvisation sextet, ‘Plains’, one half of the free noise duo, ‘Nights’ and core member of the pop group, ‘The Hungry Eyes’. . Also working as a freelance audio engineer, Watkins composes and designs soundtracks for documentary and film, engineers and produces a variety of music based projects and works as a guest tutor at Elam School of Fine Arts and Massey University teaching sound and video.
Watkins has numerous releases of recorded material on a variety of local and international record labels such as Circle, 20 City, Claudia, Mystery Sea, C.M.R., Absurd and Scarcelight.
From Audiofoundation on Richard Francis:
Richard Francis (b. 1977) is an Auckland based sound artist, active for the past 16 years releasing solo and collaborative records, performing live and producing sound installations. He uses recordings of acoustic and electronic sounds, a tone generator, analogue electronics and computer to make sound works. He has recorded with many artists including Jason Kahn, Francisco Lopez, Bruce Russell, Mattin and has released solo and collaborative albums on a number of labels including Korm Plastics (NL), Monochrome Vision (RU), Scarcelight (USA), Alone At Last (RU) and Last Visible Dog (USA). He has played live concerts in Japan, Australia, Hong Kong, Canada, USA, France, Germany and Switzerland. Since 2003, Francis has produced sound installations, participating in group and solo shows at galleries throughout New Zealand including Wall of Sound, Te Tuhi (Auckland); Sonic Museum, Auckland Museum (Auckland); Warmth, ACFA (Auckland); 360, Blue Oyster Gallery (Dunedin); Likes the Outdoors, Ramp Gallery (Hamilton); Audible New Frontiers, The Physics Room (Christchurch); Music For Stairwell, Artspace (Auckland).
From The Wire on Richard Francis:
'The building blocks of 'Together Alone, Together Apart' by New Zealand's Richard Francis are 'sound moments': sonic interludes of a dozen or so seconds of environmental sound, whose subtle arrangements and cross-contaminations are the springboard for the compositions found here. Given the quiet volumes, sounds at the threshold of audibility are presumably those which have captured his imagination. A soft hiss and variable low end frequency introduce the first untitled track, with small crackles, glitches and echoes sporadically breaking through. The second is considerably more dramatic, with a flapping rhythm emerging from a grounded hiss like a moth's wings beating against glass. The final track is almost undetectable, even with headphones, and strengthens the connections between Francis's work and the reductive strategies of Bernhard Gunter or John Hudak. Here, swells of deep frequencies rise and fall along a fog of unsettled static, concluding a refined and highly recommended album.'
From Vital Weekly:
'Despite still be young of age and nature, Richard Francis has been active in the field of music since 1996. You may remember his Eso Steel band and his CMR label which he uses these days as a vehicle to release lathe cut records from the New Zealand scene. But here he releases his own work on a CD. Since many years Francis' work deals with field recordings and acoustic objects, such as fabric, wood, plastic, 'self noise of home stereo amplifiers', loudspeakers and record players. He writes that he is inspired by 'a particular moment of sound heard in my surroundings, [I've] come to call these brief sonic impressions 'sound moments', of 10-20 seconds in length where my attention is drawn to an interesting combination and arrangement of sounds'. His music is not a recording of these moments, but rather a 'cover' version using different sounds. That is a nice way, but hard to check out. We didn't hear these original sound moments. Three lengthy tracks here of not too careful music. It seems to be based, at least from this perspective, on a bunch of loops, which fade in and out in an irregular mode. Continuos sustaining sounds of crackling sound, low sonic rumble and debris flying around. Is it drone music? Well, perhaps it is. Is it microsound? Indeed, it might be. But it's harsher, more present, certainly in the first two tracks. It doesn't lull the listener to sleep. Perhaps it's musique concrete? It is, but the aspect of a continuous sounds built from loops may suggest otherwise. I think this is the strong thing from this CD. It sounds familiar but upon close inspection it's not easy to lump this into any genre. A strong CD, that at just under thirty minutes, is perhaps a bit short. Another piece would have been most welcome.'
From Earlabs on Richard Francis:
'Richard Francis lists “field recordings of indoor and outdoor spaces, handling of fabric, wood and plastic and self noise of home stereo amplifiers, loudspeakers and record players” as the sources for “Together alone, together apart” – common and marginal sounds, that you would not necessarily notice. However, Francis’ use of these sounds adds a layer of mystery to the quotidian – not mystery in a surrealist tradition, though, but a process of abstraction that leads to intensified sensual awareness and brings about an oscillation between absence and presence of physicality. This is also reflected in the description Francis gives of his approach: “Each piece was inspired by a particular moment of sound I heard in my surroundings. I’ve come to call these brief sonic impressions ‘sound moments’, of 10-20 seconds in length where my attention is drawn to an interesting combination and arrangement of sounds. I attempted to draw or notate the sound moments, with the intention of composing a kind of ‘cover version’ of each one. During the recording process, each piece took a feel and sense of its own, while retaining some relationship to the original sound impression.” Compared to earlier works, such as “Technology of Sleep” or “20 Ways” (both released under the name Eso Steel), the overall sound of “Together alone, together apart” has become softer and more refined (in part due to a shift from analogue to digital equipment, I’d assume), while still maintaining a distinctly rough textural character and focusing on the concrete (‘concrete’ as in musique concrète) qualities of the sound rather than on extensive digital manipulation, thus again achieving the highly organic effect that had been characteristic of the aforementioned releases. Track one and two weave low-end bass sounds, gritty textures and very vague, far-away melodic hints, into a dense fabric, with the individual elements continually shifting in and out of the listener’s perceptional focus. This density produces an intensely immersive effect, which is, however, not based on sheer volume, but on the phenomenological richness of the grinding, hissing and humming sounds that emanate from the speakers. The third and final track, recorded three years earlier than the other two, then changes density for reduction and presents sparse, circulating low frequency pulses, which are accompanied by delicate hiss. The result is no less intense, though, and is here brought about by the almost complete withdrawal of sound, which demands an amount of concentration that borders on absorption. One might notice a certain imbalance between these different approaches, but eventually they prove to be complementing and to be equally convincing examples of Francis’ skill to transfer acoustic traces of movements, electric currents and spatial situations into restrained, yet powerful abstractions.
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Buyer pays shipping:
Media Mail To USA : $4.00
Priority Mail To The USA: $8.00 Air Mail To Canada : $7.50
Europe/Asia/UK/Australia/NZ: $13.25
I will ship internationally & I will provide proof of mailing but I cannot guarantee delivery overseas (Italy has been a problem for many sellers) unless the buyer elects to use international priority mailing (ask for details...coverage is limited). It is essential that you provide a clear and accurate address for mailing of a package. Domestic packages to the USA are sent with delivery tracking.
I need to be clear that I can provide proof of shipping on any package mailed, but I cannot be responsible for packages lost in the post. In order to minimize the likelyhood of lost packages I print the address from your paypal payment address and give you the oppportunity to correct the address if necessary. If you pay by postal mail, I ask that you email me your address so that I can print a label from your email.
These prices reflect Priority shipping with coverage of $63.78 added automatically up to 1 pound.
Western Europe: $23.00
Asia : $22.00
Australia: $21.00
New Zealand: $19.50
On Sep-28-12 at 00:38:41 PDT, seller added the following information:
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