This mix was compiled as the second volume in my “Appel d’Air” mix series, the first volume of which is available here. It takes its name from the Michel Redolfi album of the same name. I’m always looking for music that uses flute or wind instruments, open spaces, and environmental sound in tandem, even if these conditions are only met loosely. In this collection I included two pieces of music originally composed as environmental music for video games (“Inside The Deku Tree” from Legend of Zelda and a Resident Evil save room theme), both of which were designed to color the atmosphere of a virtual space, and both of which use flute (albeit electronic). Eva-Maria Houben’s “ein schlummer (a slumber)” uses flute and organ and their reverberations inside a large cathedral: the near silences between notes as the reverb tails off are as important as the notes themselves. I also included one of my own compositions, “Chanterai por mon coraige”, recorded in a decrepit mill in the French countryside, pictured above. Like many of the pieces included on this mix, the sound of the space in which the piece was recorded plays a role in the composition; in this case evening crickets and the churning of a nearby creek. You can download a .wav file here.
Originally posted / hosted by Listen To This!, check out their post for full tracklisting.
"I was there the other day. So weird wandering thru those deserted ripped-off structures that so much love & agony & labor went into building. There were ghosts behind every broken window & half-off-the-hinges door. Sad hippy ghost town with a pile of human shit deposited on the drainboard next to the sink. Too many rats packed into too small a space. I guess we'll go down & scrounge what we can." (Peter Rabbit on Drop City)
I was interviewed live on RMBA Radio for Peak Time, starting about 1 hour into the show. Listen below.
The avant-garde flautist and composer discusses his ode to New York loft music and his debut solo album.
John Also Bennett, otherwise known as JAB, has been operating in the avant-garde underground of New York for the better part of a decade. He’s currently a member of kosmiche trio Forma, one half of the ambient-exploring duo Seabat and has collaborated with countless like-minded artists such as Jon Gibson, Christina Vantzou, American Contemporary Music Ensemble (ACME), Peter Burr, Zin Taylor and many others. The creative energy that drives JAB is unparalleled — last year he released an album with Vantzou, plus new albums with both Forma and Seabat. This March he finally put out his solo debut album, a project ten years in the making. Erg Herbe, its title, is a phrase that combines a word meaning “a sea of desert dunes” with the French word for grass; it calls to mind an imaginary place that echoes the perplexing but dreamy mixture of synthetic and organic instruments. Bennett says the record is “strange and thoughtful music that reflects a genuine inner vision of self.” He joins Vivian in the studio today to discuss the technicalities of mixing disparate sonic elements and the imagined spaces where he hopes his listeners might go.
Erg Herbe, the first full-length solo JAB album, is now available to pre-order from Shelter Press. Listen to “A Little Breeze” below. The album is out March 7th.
Last year John Also Bennett appeared on three collaborative full length releases – the CV & JAB album Thoughts Of A Dot As It Travels A Surface for Shelter Press in February, a fourth Forma album Semblancefor Kranky in July and Outside The Disc, a new album for his Seabat project with Forest Christenson in October. He also appeared on Christina Vantzou’s solo album No. 4 (Kranky) in April. Whilst work continues on these long running collaborations (as well as other projects with artists such as noted Minimalist composer / performer Jon Gibson), 2019 will start for John with his first full-length solo release – Erg Herbe.
JAB says the record was gestated for nearly a decade while he worked out how to fully express his own sound and ideas. He notes that “My personality is all over this music”, elaborating that “the goal is to create nice, strange, and thoughtful music that reflects a genuine inner vision of self. I’ve been recording solo music for a long time without releasing any of it because I’m not able to let anything out that doesn’t satisfy this criteria.” Finally, Erg Herbe began to emerge during 2017 and 2018, recorded alone during spare moments between collaborative projects. JAB uses a mixture of synthetic and organic instruments throughout the album, including modified Aphex Twin DX7 presets played using a just intonation tuning system, eurorack oscillators “tuned according to intuitive structures using intervals of 30 hz,” and a number of flutes including a Chinese “dizi” flute borrowed from his father, noted avant-garde poet and mail-artist John M. Bennett (a contemporary of New York underground poets Richard Kostelanetz and Steve Dalachinsky). Through this unique mixture JAB creates a record which moves outside the conventional. Part New York minimalism, part ambient, part classic electronic yet uniquely JAB.
Primarily recorded at The Schoolhouse, the Brooklyn loft where he lives and works (that will also serve as the site of a launch event for the album this spring), Erg Herbe taps into the rich history of New York loft music, recalling downtown artists like La Monte Young, Phill Niblock and Laurie Spiegel. He also cites Takehisa Kosugi, Dominique Lawalrée, Jon Gibson (who JAB toured with in 2017 & 2018) and Pauline Anna Strom as important influences – “Their music seems to express their personalities so well, at least my perceptions of them. And those personalities are relaxed, inquisitive, friendly and unique – how I strive to be.” If you add his list of inspirations and his past projects, as well as his time spent working behind the scenes with noted NYC imprint RVNG Intl., then it becomes clear how much JAB is working within a very distinctly New York tradition of experimental, classical and electronic music. His various projects with filmmakers and installation artists like Peter Burr also add to this vivid impression of a New York artist out and about, working on many levels at once. The sound of Erg Herbe reflects this cross fertilization of artistic activity.
Beyond the cuts recorded in Brooklyn there’s also “Chanterai por mon coraige” derived from the 13th century French troubadour song by Guiot de Dijon, on which two flute improvisations upon a theme were recorded blind from each other and then combined afterwards, producing some exciting, unexpected harmonies. Appropriately “Chanterai por mon coraige” was recorded inside a decrepit mill in the French countryside at night – not far from where Shelter Press is headquartered. The title cut “Erg Herbe” features flute recorded inside Tilapia, a reverberant sculpture by Katsuhito Nishikawa at the Museum Insel Hombroich in Germany, which was then processed and overlaid with synthesizer in New York.
“Erg Herbe” in an invented turn of phrase – erg being the term for a sea of desert sand dunes, and herbe being French for grass – summoning the dreamlike image of a green, rolling dunescape. A fitting title for an album that combines worlds: minimal and lush, serious and playful, real and imagined. “Distant Patterns” – the longest track on the album at over twelve minutes – juxtaposes dry, pulsating oscillators with pillowy, occasionally dissonant pads, while a raga-like alto flute melody glides and dances over top, like a bird soaring across a landscape. Dreaming of distant places while absorbing what’s around him, and traveling the world while keeping one foot in New York, JAB has finally conjured up the unique, surreal sound world he has been looking for.
Erg Herbe features original artwork by Zin Taylor, who JAB collaborated with previously on Thoughts Of A Dot As It Travels A Surface and is mastered by Rashad Becker at D+M. Pressed on 140gr vinyl with printed artwork on inner and outer reverse-board jacket.
Out March 7th, 2019 on Shelter Press.
John Also Bennett
C flute, Alto flute, dizi flute, oscillators, Yamaha DX7II-D, Yamaha CS Reface, Roland Super JV-1080, Farfisa organ. Recorded at The Schoolhouse, New York, USA, except “Chanterai por mon coraige” recorded in Ponce-sur-le-Loir, France at Les Moulins de Paillard and “Erg Herbe”, which was partially recorded inside Tilapia, a sculpture by Katsuhito Nishikawa at Museum Insel Hombroich, Germany. “Chanterai por mon coraige” is derived from the 13th Century troubadour song by Guiot de Dijon of the same name.
This large-scale installation simulates an underground structure whose “smart
architecture” is overseen by artificial intelligences—spatial and social designers that observe, learn, and make changes to the system. Unaware of the control exerted by these entities, residents of the structure move through and live in spaces that reflect varied economies and class hierarchies. Periodically, this system will interject one of 48 cinematic interludes that reveal different facets of life in this decaying arcology.
Lead Artist: Peter Burr
Key Collaborators: John Also Bennett, Mark Fingerhut, Porpentine Charity Heartscape, Eric Timothy Carlson, Brandon Blommaert
Audio: John Also Bennett
Technical Director: Mark Fingerhut
Text: Porpentine Charity Heartscape
Additional Graphics: Eric Timothy Carlson, Brandon Blommaert
Produced By: 3-Legged Dog
Available now across digital platforms and on limited edition compact disc and cassette. A portion of the proceed will go to the B612 Foundation, who are dedicated to protecting the Earth from asteroids.
Catch me on tour with Forma in the next month, UK / EU / USA.
Peter Burr's Pattern Language, featuring my original score, was included as part of the Times Square Arts Midnight Moment in Manhattan, NYC.
"...together they have made this slowly engrossing album for Shelter Press - who else - perhaps one of the most elusive, uncanny and multi-layered “Ambient” albums we’ve heard in what feels like a long time, a worthy follow-up to a frankly astonishing sequence of releases on the label that started with Felicia Atkinson’s modern classic 'Hand In Hand'."