Cellist Craig Hultgren asked for a cello piece. This was supposed to be it. C'est la vie.
It was nearly done. Craig had decided that it stood a better chance of getting programmed if it had an actual score.
I started doing sonogram output to start with, writing lines and improv suggestions, but it just wouldn't gel.
Then Craig announced that the electric cello's arrival was indefinitely delayed.
I went to Berlin (see Between Dog and the Wolf). I came back.
I threw a wrench in the music and it turned out to be the lever I was looking for.
Disparate sets of order are streamed together. On the surface it seems like there is only chaotic texture.
Driven by hidden undercurrents blooms of higher (or simpler) order occur.
Once the larger patterns are made evident, the smaller, more subtle ones can be heard slipping by. Eventually they too progress to other orders.
Craig Hultgren supplied the original cello samples from a 1997 improvisation.
He was recorded using a single Neumann valve Mic, directly to a Mac 660av. All cello stereo images are faked using Soundhack or Macpod.
Shea Goodwin and Scott Looney and myself recorded the metals being supercooled by dry ice.
The samples used in this piece are the "unplayed" ones. Cymbals, copper pipe, wire cages, guitar strings, and socket sets are left
to react and radiate.
