Artist: Pauline Oliveros & Reynols
Title: Half A Dove In New York, Half A Dove In Buenos Aires
Format: Vinyl 12″
Label: Smalltown Supersound
Cat nr: STSLJN407LP
|A||Micro / Macro Wind Dance|
|B||Astral Netcast Pigeon|
- Accordion [Just Intonation], Music By –
- Artwork – ,
- Computer –
- Design –
- Electronics, Performer [Leather gloves], Electric Guitar –
- Electronics, Performer [Rubber foot], Electric Guitar –
- Electronics, Voice [Subliminal], Drums [Alclorse] –
- Mastered By –
- Mixed By [Final Mix] – ,
- Music By, Producer –
- Other [ICR] –
- Other [Streaming] –
- Trombone –
New York, The Thing, 6PM
Buenos Aires, ICI, 7PM
Final mix by N. Sitruoc & Slonyer at Celula Stadium II, Buenos Aires. 2021.
Special thanks to Joakim Haugland, Ione, The Pauline Oliveros Trust, Artswire,
The Thing, David Gamper, Edgardo Marranti, Alaina Clire Feldman, Magnus
Schaefer, Fernando Barco, America TV Noticias, Tomasín Family, Paul & Ceci
Fagoaga, Tico, Ulises y Tobías Conlazo, Benjamin Piekut, Stephanie-Jensen Moulton,
Lasse Marhaug and all our friends everywhere.
Recorded back in 1999, ‘Half a Dove in New York, Half a Dove in Buenos Aires’ is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.
As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast – a series of very early online live improvisations
– to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance – a remarkable slab
of omnidirectional drone bearing traces of Miguel Tomasin’s vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.
Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.
The album’s first side, titled ‘Micro Macro Wind Dance’, puts Oliveros’ accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds’ arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.
‘Astral Netcast Pigeon’ expands the dissonant drones to widescreen, submerging Oliveros’ trills and drones beneath layers of dirt and grit. It’s time-altering music that dissasembles yr head before you’ve completely worked out what’s happening >> basically the perfect mid-point between Oliveros’ deep listening practices and Reynols’ wildly inspirational free-noise-drone freakouts.
Text from Boomkat