keith fullerton whitman

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  • keith fullerton whitman – live generator (1.5) – agents of chaos

    out of stock

    this tape needs no introduction. kfw has been killing it. two 20
    minute live pieces showcasing keith’s mastery at transformation of
    environment in real time! just mind blowing stuff here. great moment
    on the b side with an angry spectator yelling at keith.

  • keith fullerton whitman – dream house variations

    out of stock

    Keith Fullerton Whitman’s first release in over two years manifests itself in an inspired take on aural perception. “Dream House Variations” is a meditative experience, comprised of four cassettes intended for simultaneous listening. The variations themselves are reworkings of two endless loop cassettes through Doepfer Analog Modular Systems; KFW exacts his technical mastery through dense filtering, panning, and modulation of the source. The octophonic nature of the set creates an infinite amount of listening experiences, not only due to the syncing of the tapes, but also placement within a room and the equipment used for playback. The music becomes a part of the room much like the quadraphonic intentions outlined in Eno’s “Ambient” series. Each experience creates new instances of counterpoint, melding tonality, and individual senses of perception eliciting the source of the variation: mind or machine? In an edition of 150 four tape sets in oversized vinyl cases with full color cardstock covers, silver cardstock inserts, and printed labels.

  • keith fullerton whitman – generators – editions mego

    $19.00 Add to cart

    Over the course of a year, Keith Fullerton Whitman performed a piece of live electronic music a few dozen times entitled “Generator.” The debut was given in San Francisco at Root Strata’s On Land festival at Cafe Du Nord on September 19th, 2009 — over the months that followed, stagings took place in venues ranging from flooded basements to festival stages in Baltimore, Boston, Brooklyn, Chicago, Easthampton, Iowa City, Jamaica Plain, Northampton, Raleigh, Saint Louis, San Francisco, Somerville and Washington D.C. This LP covers the final two performances of the piece over two consecutive evenings; the opening solo set from the final night of the High Zero festival in Baltimore at the Theater Project, September 26th, 2010, then the performance during the “For Eliane” night of the Propensity Of Sound festival dedicated to Eliane Radigue’s work at Issue Project Room, Brooklyn, September 27th, 2010. These recordings show the piece in two different iterations, taking two different trajectories entirely. They’re considered the definitive versions of the piece. Composed for, and realized with a scalable selection of digital and analog modular synthesis equipment, “Generator” was an attempt to wrest a viable performance-based music out of what had until then been a solitary set of sound-design tools. The piece grew out of a frustration with the limitlessness of computer-based real-time synthesis and algorithmic/generative systems vs. their utter failure as performance solutions. It hinges heavily on the ideology of the “Playthroughs” system (in that the subtle tuning inconsistencies of a physical instrument — the electric guitar — could be amplified and multiplied) through the use of multiple layerings of different topologies of oscillator, yielding an unstable array of modal canons that drift in and out of “tune,” causing all manner of inter-voice beating and assorted psycho-acoustic effects. Artwork by Graham Lambkin.

  • KFW – occlusions; real-time music for hybrid digital-analogue… – emego

    out of stock

    …Modular Synthesizer. “‘Occlusion’ is a loose framework for a multi-channel, freely-improvised piece of live electronic music, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. A given realization will last between 10 and 30 minutes; time is elastic. Every effort has been made to avoid divisible rhythms (although mistakes are occasionally made). Still, I consider it a ‘kind’ of dance music. These two realizations, recorded a week apart at festivals in France and The Netherlands during February 2012, capture the piece (much like those on the Generators LP) in two entirely different iterations, in states of (A) a mildly inebriated bliss & (B) an arbitrarily triggered blind rage. Both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. They sound fantastic. Occlusions is a companion piece to Generators in that they share the same tool-set; however, it is the free jazz yang to Generator’s minimalist yin. It is not recommended to those seeking meter, melody, cleanliness, or a clearly-outlined organizational sense.”