Ringing, ripening, reverberating bouquets and brassy celestial blooms: ceremonial tones ricochet off the walls of the Great Hall at Goldsmiths, ratcheting up a subpoenaing preamble to some misfit giant simian transgression. These audio auguries seem to presage something ominous, but the undetectable thing sways an autonomous dance in shadowlands perpetually beyond view. Metallic shards splinter off from the core drones generated by Mark Wastell’s tam-tam, before the atomised detritus make like mythical offspring extracted from the hydra’s mouth – these glistening children take on lives of their own, intensifying to burnished crescendos, the sonic froth augmented, often bolstered, by Jonathan McHugh’s Max/MSP manipulations. Rippled dissonance rubs up against an end-game annihilation, white noise filters out as a succession of white-water breakers, surfing oscillations drifting into an intergalactic void. The duo close out on a combo for twinned reversals of Canute, holding back the sundry electronic tides, McHugh curdling the echoing spray, Wastell taunting the ocean swells from behind the safety of his alloyed shield.
— Spencer Grady


released January 28, 2019

Mark Wastell: tam-tam
Jonathan McHugh: Max/MSP

Recording: Sebastian Lexer
Mix and Master: Robert Curgenven

Four channel tam-tam, processing, and quadraphonic diffusion recorded in concert at Interlace in The Great Hall at Goldsmiths, 2009-07-18. New stereo mix and master, 2019.


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