Seth Nehil – One Hour As A Rumpled Sheet

The seminal post for Lost & Found is Seth Nehil‘s One Hour As A Rumpled Sheet. I was familiar with musician and visual artist Seth Nehil’s work with JGrzinich for some time prior, but stumbling accross this ‘album’ a few years ago encouraged me to revisit him with a great deal more interest. I say ‘album’ because I cannot for the life of me figure out where this came from or how it was released. From some now defunct links to Kaon, it seems it was part of a series of compositions by different artists (including Colin Potter, Michael Prime and others) for ResonanceFM of London and unfortunately does not appear to have been released in any physical format.

At any rate, this was my true introduction to Nehil, as I hope it is yours. String treatments, sporadic percussive elements and full of rustlings and mutters. His vocalizations are as effective for their tonal and timbral qualities as they are for their literaray meanings: which shuffle between introspective musings, self-conscious repetition of text reminiscent of Robert Ashley’s Automatic Writing (musical explorations of Tourette syndrome), and what seem to be inanimate objects narrating the artist’s domestic situation. If a rumpled sheet, then perhaps hanging on a clothesline, reflecting on our protagonist as he reflects upon it.

Get it here.

vehscle Written by:

2 Comments

  1. 21 January , 2012
    Reply

    Yes, this was made for Benjamin Green’s “One Hour As…” Series, and was never intended for widespread release. The use of spoken text is unique to this program and is meant to give some insight into compositional concerns of that time. Many of the sounds and textures made their way into my CD with Matt Marble, Ecllipses, released many years later on And/OAR. Here is the text that originally accompanied the radio program:

    This mix for radio consists of recent studies in sound-fields and sound-topography, conducted over the last year. The surface of these pieces has been subjected to an overall torsion, a physical stress which warps the audible plain. The sounds are entirely acoustic, pseudo-rhythmic and environmentally embedded. For this broadcast, they have been interspersed with (spoken) writings on the process of composition. Vocal assistance from Bethany Wright and Flo Buddenbaum, who can be heard perceptively reacting while in the midst of listening. Thirdly, I have included various field recordings collected over the past several years, which can be heard as textural and sonic instigations for the work at hand.
    The musical elements of this broadcast were composed in Portland, OR and Brooklyn, NY from Feb. 2002 – Feb. 2003. Collectively, they are entitled ‘Aprupture’. This program for Resonance was assembled Jan. – Feb. 2003.

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