Phill Niblock - Disseminate
Disseminate Ostrava (1998) (22:18)
Ensemble OCNM with members of the Janácek Philharmonic Orchestra
Petr Kotik, conductor
Kontradictionaries (1999, rev. 2003) (22:13)
Madeleine Bischof, contrabass flute
Thomas K.J. Mejer, contrabass saxophone
Leo Bachmann, contrabass tuba
Written for Kontra-Trio
Disseminate Q-O2 (1998) (22:09)
the Q-O2 Ensemble, Brussels
Julia Eckhardt, viola; Claire Goldfarb, cello;
Lucio Capece, bass clarinet and soprano sax;
Elke Tierens, flute; Roel Avondts, trombone
Phill Niblock (born in Indiana, 1933) is a seminal figure in "drone" music who crosses the Downtown and Improv scenes. A characteristic of Niblock's drone style is its subtle, gradual alteration of pitch which leads one to lose a sense of "time" and draws one deeper and deeper into the sound itself. The remarkable thing is that Niblock achieves this effect by almost always using traditional acoustic instruments.
Niblock is an intermedia artist using music, film, photography, video and computers. He initially was trained in the visual arts and worked as a photographer; he takes inspiration from minimal artists, including Rothko, Judd and Andre.
He turns 70 this year and will be honored with many festivals and retrospectives of his music worldwide.
In this orchestra piece, the players read from a conventional score. There is no after-recording manipulation of the material. The recording comes from the Ostrava Days Festival in the Czech Republic, where the 41-piece Ensemble OCNM is supplemented by members of the Janacek Philharmonic.
This work was written for the KONTRA-trio. The trio (formed in 1992) of Bischof, Mejer and Bachmann concentrates on the sound of low wind instruments. The three wind contrabasses are used as sources for acoustic phenomena.
Here, the musicians recorded "samples" of the notes in a recording studio. Niblock then edited the samples, made pitch shifts of them, and combined this material in a multitrack score. There is no manipulation of the sound of the instruments, the combination of the different microtonal pitches and timbres of the instruments modifies the sound. The musicians later added "live" parts to the Niblock multitrack-mixed-to stereo recording.
Written for the Belgian ensemble for contemporary and improvised music, Q-O2. The work creates a haze of slowly shifting, vibrating sounds.
The cover is an original photograph by Phill Niblock.
The booklet includes an essay Robert Ashley and notes by Petr Kotik and the composer.
Mode 131 (CD)
Though Phill Niblock's music could sound like an immobile granite block to ignorant ears, it's instead one of the best representations of the incessantness of vital tides: its sound flowing like blood in veins, its dissonant beating frequencies pumping like constant heartbeats bringing ear pressure in some cases; its final result, at least in my own perception system, is that I breathe deep and slow, my muscles losing any tension. In an exceptionally prolific moment of his career, Niblock establishes here a partnership with musicians approaching materials with passion and competence, seaming together drone upon drone of elongated acoustic - and sampled - textures. "Disseminate Ostrava" and "Disseminate Q-O2", two different versions of the same piece (the first recorded live with Petr Kotik conducting) show how the human element can bring out the most hidden sprinkles in the score, resulting in a holomorphic wall of contradicting pitches showing the only way to an infinite bliss. "Kontradictionaires", written for contrabass flute, sax and tuba - all three instruments - and masterfully played by the Kontra-Trio, is classical Niblock wrapping the listener in a cocoon of low ranging notes that, under the guise of menace, create instead the most protective barrier against anything not desirable, being them sounds, thoughts or else. It's good knowing that this man exists and it's even better thinking about an artistic vision that at 70-plus years is still inquisitive and purely interested in basic forms, like if he were a little kid. "Disseminate" is meant to be played often and it's as a beautiful release as you can hope for.
--- Massimo Ricci, Touching Extremes, April 2004
Also by Petr Kotik on Mode:
Somei Satoh: From the Depth of Silence: Orchestral Works (mode 135)
Petr Kotik Profile
Phill Niblock Profile
Q-O2 Ensemble Profile
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