artists: DALE LLOYD
title: Eminus: Hymns From The Horizon
catalog number: and/5
release year: 2002 / 2003
format: CDR
status: sold out
title: Eminus: Hymns From The Horizon
catalog number: and/5
release year: 2002 / 2003
format: CDR
status: sold out
Amorphic works composed from metal and wood sound sources (some of
which were objects performed by Jon Tulchin and Isaac Sterling), field
recordings, and voices.
"Eminus came out of an ongoing fascination for distant and indecipherable
sounds. This work contains 6 silent tracks out of 17, varying from 10 seconds
to 55 seconds in length. Listening to this disc while in the "shuffle" mode on
your cd player, is highly recommended after the first initial listen, if one is so
inclined." (Dale Lloyd)
"Nascent landscapes derived from filaments of clouds, vague appearances, a
deep dive into subliminal occurrences..."
(Daniel Crokaert - Mystery Sea)
which were objects performed by Jon Tulchin and Isaac Sterling), field
recordings, and voices.
"Eminus came out of an ongoing fascination for distant and indecipherable
sounds. This work contains 6 silent tracks out of 17, varying from 10 seconds
to 55 seconds in length. Listening to this disc while in the "shuffle" mode on
your cd player, is highly recommended after the first initial listen, if one is so
inclined." (Dale Lloyd)
"Nascent landscapes derived from filaments of clouds, vague appearances, a
deep dive into subliminal occurrences..."
(Daniel Crokaert - Mystery Sea)
EAR / RATIONAL (APRIL 2004)
This disc starts with a beautiful track - it sounds like the deepest ocean or an
aurora borealis. Many tracks on here have bass notes that seem like deep
rolling thunder across a never ending plain with the ever so slightest hints of
other harmonic frequencies. Pure listening pleasure. This is delicate music,
one dog barking outside would forever change the actual recording on the CD.
Sometimes I wish I could see wind - all you can see is its effects but you never
get to actually see it by itself. But this CD is what wind sounds like. I want to
get 10 subwoofers all around my house and attempt to destroy the foundation
by playing this disc at top volume. (Don Poe)
This disc starts with a beautiful track - it sounds like the deepest ocean or an
aurora borealis. Many tracks on here have bass notes that seem like deep
rolling thunder across a never ending plain with the ever so slightest hints of
other harmonic frequencies. Pure listening pleasure. This is delicate music,
one dog barking outside would forever change the actual recording on the CD.
Sometimes I wish I could see wind - all you can see is its effects but you never
get to actually see it by itself. But this CD is what wind sounds like. I want to
get 10 subwoofers all around my house and attempt to destroy the foundation
by playing this disc at top volume. (Don Poe)
ReR (NOVEMBER 2003)
CD in a DVD box. Distant, indecipherable sounds. Atmospheres, serious low
frequencies. Quietly fascinating. (Chris Cutler)
CD in a DVD box. Distant, indecipherable sounds. Atmospheres, serious low
frequencies. Quietly fascinating. (Chris Cutler)
INCURSION issue 70 (AUGUST 2003)
Sound artist and phonographer Dale Lloyd released this recording on his own
and/OAR label last year. He's had a few releases since then, so admittedly, I'm
a little late in getting to this one. Growing out of a fascination with distant and
indecipherable sounds, the pieces collected here carry both the stillness and
broad trajectory of gazing out at the horizon, capturing its essence and
amplifying its resonance. These compositions were created using field
recordings and voices, but also recordings of metal and wood objects
performed by Jon Tulchin and Isaac Sterling. The compositions are
accompanied by six short tracks of silence, ranging from 10 to 55 seconds and
peppered throughout the track list, meant to extend the experience of listening,
"to extend the spatial field of track occurrences," or more simply, to give the
listener pause at certain moments to reflect on the sounds contained herein.
And, it should be said, this method works well. Whether listening to the disc in
continuous playback or in shuffle mode (as the notes suggest), the overall
impression is that I am listening to one long piece, with pauses, silences,
spaces in between events. When you look out on the horizon, maybe you are
greeted by the apparent silences of things, surprised by the stillness, then you
might hear something in the distance, a ship on the sea, the waves, the wind
through the branches, low frequencies combining in subtle turns, the sounds of
which funnel through your ears and cause vibrations that you can still feel,
even now, as days, months, years, have passed since you heard those
sounds, still alive in your memory, still resounding from the distance.
(Richard di Santo)
Sound artist and phonographer Dale Lloyd released this recording on his own
and/OAR label last year. He's had a few releases since then, so admittedly, I'm
a little late in getting to this one. Growing out of a fascination with distant and
indecipherable sounds, the pieces collected here carry both the stillness and
broad trajectory of gazing out at the horizon, capturing its essence and
amplifying its resonance. These compositions were created using field
recordings and voices, but also recordings of metal and wood objects
performed by Jon Tulchin and Isaac Sterling. The compositions are
accompanied by six short tracks of silence, ranging from 10 to 55 seconds and
peppered throughout the track list, meant to extend the experience of listening,
"to extend the spatial field of track occurrences," or more simply, to give the
listener pause at certain moments to reflect on the sounds contained herein.
And, it should be said, this method works well. Whether listening to the disc in
continuous playback or in shuffle mode (as the notes suggest), the overall
impression is that I am listening to one long piece, with pauses, silences,
spaces in between events. When you look out on the horizon, maybe you are
greeted by the apparent silences of things, surprised by the stillness, then you
might hear something in the distance, a ship on the sea, the waves, the wind
through the branches, low frequencies combining in subtle turns, the sounds of
which funnel through your ears and cause vibrations that you can still feel,
even now, as days, months, years, have passed since you heard those
sounds, still alive in your memory, still resounding from the distance.
(Richard di Santo)
