Keith Fullerton WhitmanAntithesisKranky
FROM THE ARCHIVES// Finally brought back to life, “Antithesis” contains some of the earliest work we have under Keith Fullerton Whitman’s own name.  Originally issued in 2004, some of the pieces were recorded a full decade before that and the album is very much a precedent for what was to follow: glowing guitar drones, erratic field recordings, and delay experiments.  Of course, computers and electronics are conspicuously absent with most of the recordings being organic in origin, steeped in amplifier hiss, tape bounces, and microphone placements.  ”Antithesis” is not just rewarding for archival purposes and it contains some awe-inspiring music, particularly the highlight “Twin Guitar Rhodes Viola Drone (For La Monte Young).”  The dedication speaks to Whitman’s impetus on the track, but it’s not nearly as static as it might imply, with positively radiant viola lines underpinning patient Rhodes melodies.  Guitars feed back, harmonies lie between consonance and dissonance, and the whole thing spins into an impressively thick textural delight.  – Ryan Potts, Experimedia

Keith Fullerton Whitman
Antithesis
Kranky

FROM THE ARCHIVES// Finally brought back to life, “Antithesis” contains some of the earliest work we have under Keith Fullerton Whitman’s own name.  Originally issued in 2004, some of the pieces were recorded a full decade before that and the album is very much a precedent for what was to follow: glowing guitar drones, erratic field recordings, and delay experiments.  Of course, computers and electronics are conspicuously absent with most of the recordings being organic in origin, steeped in amplifier hiss, tape bounces, and microphone placements.  ”Antithesis” is not just rewarding for archival purposes and it contains some awe-inspiring music, particularly the highlight “Twin Guitar Rhodes Viola Drone (For La Monte Young).”  The dedication speaks to Whitman’s impetus on the track, but it’s not nearly as static as it might imply, with positively radiant viola lines underpinning patient Rhodes melodies.  Guitars feed back, harmonies lie between consonance and dissonance, and the whole thing spins into an impressively thick textural delight. – Ryan Potts, Experimedia

  1. sirobtep reblogged this from gacougnol
  2. gacougnol reblogged this from experimedia
  3. experimedia posted this