U75 | Nicholas Maloney | passage
5. Gateway_excerpt
9. Subsume_excerpt
format : glass mastered CD ltd to 200 hand numbered copies/Digital
Regular edition of 170 copies packaged in clear vinyl sleeve with folded insert + an additional art card both on 350gr satin paper
Special edition of 30 copies packaged in black mass-tinted cardboard digisleeve with frame.
it holds a set of 2 double-sided art cards with a different artwork from the regular edition on 350gr satin paper.
+ a set of 3 square photos on Fujicolor Crystal Archive Paper Supreme..
Inner sleeve features a strip of translucent tracer like paper with lines pattern mentioning edition number, artist’s name + title…
release year : 2022
length : 58’08
tracks : 1. Quiescent
2. Volt
3. Flinders
4. Arrive
5. Gateway
6. Sanctuary
7. Follow
8. Eaves
9. Subsume
status : still available !
>>> order via Paypal : chalkdc@unfathomless.net
Regular edition
(Belgium) : 14 € (inc.postage)
(Europe) : 15 € (inc.postage)
(World) : 16 € (inc.postage)
Special ultra ltd edition : SOLD OUT
(Belgium) : 16 € (inc.postage)
(Europe) : 17 € (inc.postage)
(World) : 18 € (inc.postage)
~
: info :
The Port of Cork moves between sleeping and waking. In the Winter months, the large warehouse is empty. Traces, remnants, and memories of a place that was a busy marketplace just months prior. I move silently in the dark, damp metallic shell of this dormancy, listening to the walls, the contours, the reverberations of the greater environment, the last open café whose music drifts into my field of sensation. The place’s sleep becomes alive through my participation, amplified through my mechanical interaction and physical presence. While the warehouse begins to wake, I move outside where signals are sounding. The dock moves as I move through it, ducking around industrial equipment and massive vehicles that take no heed to my presence. I revisit this place again and again as Spring emerges from the slumber of Winter. As activity increases at the warehouse, my interactions with the space disperse to the perimeter where I find solace, listening to the inner echoes of a variety of metal fencing, large vents that veil the constant drone of traffic, electrical boxes whose inner articulations go unnoticed by passersby, wind made visible and audible by the movement of weeds and the flapping of caution tape, hidden glimpses beneath the water of a ship engine idling. The warehouse marketplace comes to life once again. Ships and cranes go about their business as swarms of pedestrians suddenly appear in this once quiet place. I hide just out of sight from the bustling activity that surrounds, immersed in the experientially of this sensory field. The patterns continue to unfold as I find my place within them. These nine sonic compositions were born from a series of recording sessions and interactions with the Port of Cork and marina warehouse during the Winter and Spring months of 2021. While these pieces take inspiration from the space itself, they exist as non-representational explorations of the gathered environmental sound and sonic interactions through various processes of reduction, enhancement, and manipulation.
(Nicholas Maloney, 3 June 2021)
: reviews :
I reviewed some works from Jackson, Mississippi-based composer Nicholas Maloney (Vital Weekly 1216 and 1294), but he has many more releases under his belt. He recorded sound material at the Port of Cork (in Ireland, I presume), along with the Marina Commercial Park and the Marina Market Warehouse. Maloney visited the place a few times in different parts of the year. That was in the information, as it was not something I heard in the music. Quite unusual for releases on this label, we have here nine pieces of music. The length ranges from two to ten minutes. From his previous releases, I learned that he is a keen manipulator of field recordings, and I assume (but unsure of) that is what he does here. The unmistakable harbour sounds aren’t that present in these pieces, which I think is a good thing. Just precisely to what extent Maloney processes his sounds, I don’t know. Some of this sounds pretty original, but some a lot less. ‘Follow’, for instance, is a repeating sound that is very ‘synth-like’ and true beauty. In ‘Volt’, we hear water (perhaps) and birds (indeed), but with some excellent density to thicken the sound. In ‘Flinders’, we might have a looped sound too, but maybe it is an actual life event? I have no idea. Many of these pieces are densely orchestrated, but Maloney knows how to create some subtle variation in the music, and whatever it is that he does, it sounds like a fine combination of electronics and field recordings.
Frans de Waard
Vital Weekly
Unfathomless 