When Zane Trow released 'For Those Who Hear Actual Voices' in 2004, Pitchfork called it 'nearly perfect ambient'. Now a decade on Zane Trow revisits his ambient masterworks and pulls a few more threads through the eye of the needle.
From Zane Trow:
These collections of sounds were recorded some years ago now, and continue an abiding interest in echoes, delays and drones; they have remained constant components for manipulation in live performances. They can be considered transition pieces; tones that emerge from fm synthesis and treatments in the digital world are nuzzled and cajoled by those from the real world. This juxtaposition continues to be a focus now, of the ongoing work.
There are also collaborations here to acknowledge and thank:
"andrea" features small handmade porcelain beads dropped onto a marble floor in Singapore, by artist Andrée Weschler during her performance art work, used with permission.
"am" and “mosoilin” feature a very old piano prepared, played and recorded in a heritage “one person school house” in Tasmania by artist Maria Fletcher, used with permission.
"live" features recordings of speeches from Herbert Marcuse (1898-1979) used with permission from his grandson Harold Marcuse.