FINALLY RESTOCKED! "Keith Fullerton Whitman has consistently blown our tiny minds this year with a stream of utterly crucial releases. Whether morphing the Arabic Oud into majestically ornate formations or commanding his self-generating hybrid analogue/digital modular setup into unimaginable arrangements, we're witnessing the culmination of years of dedicated research and experimentation blossoming into tangible, cherishable productions in 2010. Arguably, he's saved the best for this LP, using masses of recordings gleaned from live improv and studio sessions between 2007-08 as the raw material for these compositions, created between 2008 and spring 2010. In the seventeen minutes of 'Disingenuity' we're subject to a cataclysmic display of cosmically attuned imagination, conjuring myriad configurations of textures, shapes, contours and tones with the constant ability to shock, seduce and tear us apart at will. Within the ever shifting dimensions of his arena, sounds are generated from his Doepfer Hybrid Modular Synth and made to radiate and ricochet from every surface, returning to our ears in a different shape and space each time, violently unstable and cosmically chaotic, yet hopelessly engrossing, kinda like hearing a field recording from the big bang. If that was the genesis, then 'Disingenuousness' is what came after, as the constellations settle into place and the excess energies disperse with reduced velocity, homogenizing into alien harmonic structures and nuclear melodies with the deft electro-acoustic rendition of pioneers like Pierre Henry, Bernard Parmegiani or Tod Dockstader, whose work he effectively continues today. If you love experiencing visceral, thrilling electronics that sounds like the music of the stars, you simply owe it to yourself to listen to this album, you will thank yourself afterwards. **Please be aware, this album is strictly limited, housed in custom printed outer-pvc with a design aesthetic worthy of the music contained within** ESSENTIAL. (Boomkat)
THE WIRE'S BEST OF 2010:
"Whitman’s white-coated explorations of a hybrid analogue/ digital modular synth set-up hit upon an exhilarating purple patch with these two extended pieces. Linking up tape recorders, contact mics, filters, envelopes and oscillators, he created ever-changing meshes of tone and movement. We said: “By meeting the machine halfway and giving up some control, Whitman has embraced instability and thus returned some of the essential Otherness to electronic music.” (October/320)"