The work of John Collins McCormick straddles sculpture and music by using sound as material to highlight the ability of sound to change scale through visual and sonic rhythms and textures.
What is heard is generated by small objects, percussion and electronics – interactions occurring in the realm of art and noise: a McCormick performance may consist of repurposed motors, clutter jostling on exposed speakers or something familiar from your office rolling across floor in an unfamiliar way.
Ad For Nails functions as a sort of audio diary, finding these types of sounds woven between field recordings, captured conversation and old-fashioned drum kit. McCormick’s LP offers a peak into his sonic world and how these pieces of it may be heard (including the types of moments in which we instinctively feel there may be nothing to hear at all).
Uncompromising large ensemble studio recordings from Los Angeles, 2016: John Wiese, Charlie Mumma, Bill Nace (Vampire Belt, Body/Head), Martin Escalante, Ted Byrnes, and elders of the Los Angeles [...]
Active for nearly 40 years, Incapacitants are without a doubt one of the best noise groups of all-time. The duo of T. Mikawa and F. Kosakai are legendary for their chaotic recordings and over the [...]