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Skozey Fetisch - Momma:Key - 29-Jul-07 11:16 AM
This album was recorded using entirly the "musique concrete" cut and splice method of assemlage. Recorded in 1991 on 1/4 track reel-to-reel tape recorders, employing tape loops and over-dubbing rather than multitracking. And all of this with out the aid of any premade effects (digital or analog), in other words, the reverbs and delays heard throughout are created with feedback (tape delay) on the reel-to-reels or naturally occuring reverbrations by suspending microphones in 55 gallon oil drums and performing the music outside of the oildrums in the studio setting.

John Watermann - Dummyhead - 22-Jul-07 11:47 PM
This recording and Ambiguity were my first exposure to Mr. Watermanns work. At the record shop, upon a quick scan through the beginnings of the tracks I knew these recordings would require further attention. I purchased both albums and brought them with me to the experimental music radio show of which I was the host. Finding myself quite busy with the technical details of the broadcast I was unable to listen attentively while playing these CDs on air, but I made a cassette recording of my shows for later personal critique. The next day I visited an art gallery which featured what struck me as a rather post-apocolyptic exhibit by Susan Flemming; scraps of wood and debris piled into organic looking hats and odd structures, but with electric glows radiating from deep within. As I passed through the exhibit I listened to the recording of my previous nights radio broadcast and the Watermann set began. The effect was a sort of epiphany in which Watermanns psycho-technological soudscapes blended seemlessly with the paintings and it was as if the sound were being emitted by the lean-to formation subject matter in the artwork its self. I later wrote Mr. Watermann and described the experience, thanking him for his contrbutions to the world of experimental audio and we enjoyed many more correspondences up until his passing.

John Watermann - Ambiguity - 22-Jul-07 11:47 PM
This and Dummyhead were my first exposure to Mr. Watermanns work. At the record shop, upon a quick scan through the beginnings of the tracks I knew these recordings would require further attention. I purchased both albums and brought them with me to my the experimental music radio show which I hosted. Finding myself quite busy with the technical details of the broadcast I was unable to listen attentively while on air, but I made a cassette recording of my shows for later personal critique. The next day I visited an art gallery which featured what struck me as a rather post-apocolyptic exhibit by Susan Flemming; scraps of wood and debris piled into organic looking hats and odd structures, but with electric glows radiating from deep within. As I passed through the exhibit I listened to the recording of my previous nights radio broadcast and the Watermann set began. The effect was a sort of epiphany in which Watermanns psycho-technological soudscapes blended seemlessly with the paintings and it was as if the sound were being emitted by the lean-to formation subject matter in the artwork its self. I later wrote Mr. Watermann and described the experience, thanking him for his contrbutions to the world of experimental audio and we enjoyed many more correspondences up until his passing.