Our recent poetry and electronic composition album ‘Only The Imprint of an Echo Remains‘ gets a rave review from Scotland’s legendary Volcanic Tongue! We’ve written about the album elsewhere on the blog (just scroll down or click this: https://kendrasteinereditions.wordpress.com/2012/11/10/marcus-rubio-bill-shute-only-the-imprint-of-an-echo-remains-kse-247-electronic-music-and-poetry-album-now-available/ ), but as usual, David Keenan shows a great insight into the work–many thanks! Also, speaking for myself (the poetry half of this duo), I’m honored to have Jess Franco’s name dropped in a review of mine. Marcus and I may be doing a joint performance of material rooted in this album sometime in the next month or so in San Antonio. Check the blog for details. If it doesn’t happen now, we’ll try for some other time…Summer 2013 perhaps. Until then, grab a copy of ONLY THE IMPRINT OF AN ECHO REMAINS and experience the possibilities when poetry and contemporary electronic composition get together.
MARCUS RUBIO / BILL SHUTE
“Only The Imprint of An Echo Remains” (KSE #247, cdr album)
$8 ppd. in the US/$10 ppd. elsewhere
paypal to django5722(at)yahoo(dot)com
Inspired collaboration between American soundist Marcus Rubio and poet/writer/curator Bill Shute: Only The Imprint… alternates between recordings of Shute reading his poetry – “Oneness And The Sun”, “Objectless” and “The Twenty Fifth Life Of Alcyone” – with radical treatments of sections/snippets/echoes from the reading by Rubio, using techniques like granular synthesis and spectral reduction. The results are startling. Shute has a great, resonant, expressive, reading voice and Rubio inverts this with his treatments, generating cold zones of austere Euro electronics and almost NWW-esque shots of dead air. Indeed, some of the pieces remind me of Nate Young’s Regression experiments, with Shute’s voice variously disembowelled, smeared and otherwise dissembled, to the point that it becomes another texture or rhythm in the piece. Rubio would seem to have much in common with John Oswald’s various time-stretching plunderphonic strategies, and the music has that feeling of entire worlds squeezed into seconds, unfolding in rippling rhythms and generating eerie moments of sing-song beauty that feel closer to actual song constructs than ‘mere’ sonic manipulation, with a grandeur and ambition that goes way beyond what you might think the remit entails. And when it switches to Bill’s reading the effect is startling, like a sudden zoom, a crude Jess Franco close-up that feels like a complete inversion of what went before. A great side, highly recommended!
Posted at Volcanic Tongue (written by David Keenan), 2 December 2012