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Spaceheads And Max Eastley - The Time Of The Ancient Astronaut

Label: BiP_HOp
Catalog#: [BLEEP 04]
Format: CD
Country:France
Released:May 2001
Genre: Electronic
Style: Leftfield, Abstract, Ambient
Credits: Drums, Percussion, Noises [Sheets Of Metal Through Electronics] - Richard Harrison
Recorded By, Mixed By, Producer, Artwork By [Cover Design] - Spaceheads
Recorded By, Mixed By, Producer, Performer [The Arc, An Electric Accoustic Monochord] - Max Eastley
Trumpet, Vocals [Through Echo Loops And Pitch Shift / Harmony Machines] - Andy Diagram
Written-By - A. Diagram* , M. Eastley* , R. Harrison*
Notes:Recorded live at Intergalactic Arts London.
Max Eastly plays The Arc, a nine foot long instrument with one string, stretched over wood & played with a bow or glass rods. The pitch is changed by flexing the wood. The string can also be shortened with clips. It is then fed into electronic effects.
Rating:   3.0/5 (7 votesRate It
4 for sale in the Discogs Marketplace

Tracklisting:

1   The Black Drop Of Venus (6:13)
2   Life Without Gravity (6:59)
3   Ghosts (5:14)
4   Air As Matter (1:41)
5   The Old Moon In The Young Moons Arm (3:39)
6   Interstellar Escalator (4:01)
7   Hubble Bath (4:39)
8   Hail Bop (8:09)
9   Invisible Nature (3:36)
10   Generator X (6:56)
11   Ancient Astronauts (6:21)

User Reviews:

, Jun 03, 2001

The superb Spaceheads expand to a trio with the addition of sound sculptor and instrument inventor Max Eastley. Eastley, in my opinion, blew away all others in last year's Sonic Boom exhibition in London, his were the most creatively organic, both sonically and kinetically. Their recording, from a live performance, starts with a distantly eerie set of music with soaring trumpet, drums in irregular march and Eastley's 'Arc' (an electroacoustic monochord) imitating an out-of-tune violin for the feel of a soundtrack to a particularly grim part of a '60s Biblical epic. Though recorded as one long piece, they've thoughtfully indexed the CD into 'songs' or sections as the sounds change. Andy Diagram's trumpet flutters like a voice in tremolo, other times filling the space with impossibly long notes (he blows then expands the sound beyond the temporal range of human breath). Richard Harrison's work is far more detailed than his usual sensitive funk, mostly altered bowed and scraped and bent metal. Eastley dances in slow curlicues around them both (at least I think that's him). Very, very nice.

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