METABOLISMUS: SUS (AMISH)
From the one-sheet:
"The third release for Amish from Metabolismus and the twenty-third release in the collective's twenty-five year existence.
SUS is the first in the band's long-awaited palindrome recordings, when the collective gathers on a day in the calendar year when the numerical date offers a mirror kind of reflection. These dates function as a conceptual parameter for both their process and instrumentation.
Metabolismus recorded the basic acoustic material on 21022012 (February 21st 2012) and the playing time (at 45 RPM) is 12:21. The single sidelong track consists of one note on the vibraphone struck by a soft mallet. The same note is then bowed continuously on violin and the sound is processed with an envelope shaper, a narrow-band filter (tube-based) to accentuate some overtones, and some basic tape manipulation techniques like cutting/looping, speed/pitch alterations and change of playback direction. All rhythmic and harmonic processes result from the shifting of vibrato frequencies in the stereo panoramic field. No digital technology was used. The piece is designed to be played at any speed (mainly 33 and 45, but also anything from 16 rpm to 78 rpm).
Side 1 plays from the standard outer grooves inward.
Side 2 is Side 1 played backwards and plays from the inner groove outward, offering both the composition and the concept another layer of mirror-symmetry.”
From the one-sheet:
"The third release for Amish from Metabolismus and the twenty-third release in the collective's twenty-five year existence.
SUS is the first in the band's long-awaited palindrome recordings, when the collective gathers on a day in the calendar year when the numerical date offers a mirror kind of reflection. These dates function as a conceptual parameter for both their process and instrumentation.
Metabolismus recorded the basic acoustic material on 21022012 (February 21st 2012) and the playing time (at 45 RPM) is 12:21. The single sidelong track consists of one note on the vibraphone struck by a soft mallet. The same note is then bowed continuously on violin and the sound is processed with an envelope shaper, a narrow-band filter (tube-based) to accentuate some overtones, and some basic tape manipulation techniques like cutting/looping, speed/pitch alterations and change of playback direction. All rhythmic and harmonic processes result from the shifting of vibrato frequencies in the stereo panoramic field. No digital technology was used. The piece is designed to be played at any speed (mainly 33 and 45, but also anything from 16 rpm to 78 rpm).
Side 1 plays from the standard outer grooves inward.
Side 2 is Side 1 played backwards and plays from the inner groove outward, offering both the composition and the concept another layer of mirror-symmetry.”
From the one-sheet:
"The third release for Amish from Metabolismus and the twenty-third release in the collective's twenty-five year existence.
SUS is the first in the band's long-awaited palindrome recordings, when the collective gathers on a day in the calendar year when the numerical date offers a mirror kind of reflection. These dates function as a conceptual parameter for both their process and instrumentation.
Metabolismus recorded the basic acoustic material on 21022012 (February 21st 2012) and the playing time (at 45 RPM) is 12:21. The single sidelong track consists of one note on the vibraphone struck by a soft mallet. The same note is then bowed continuously on violin and the sound is processed with an envelope shaper, a narrow-band filter (tube-based) to accentuate some overtones, and some basic tape manipulation techniques like cutting/looping, speed/pitch alterations and change of playback direction. All rhythmic and harmonic processes result from the shifting of vibrato frequencies in the stereo panoramic field. No digital technology was used. The piece is designed to be played at any speed (mainly 33 and 45, but also anything from 16 rpm to 78 rpm).
Side 1 plays from the standard outer grooves inward.
Side 2 is Side 1 played backwards and plays from the inner groove outward, offering both the composition and the concept another layer of mirror-symmetry.”