The Bohman Brothers & Blood Stereo ‎– Live At Wiltons Music Hall

777 Was 666 ‎– 777-019
CD, Limited Edition


1 Untitled 28:12


  • Instruments [Four-track Recorder, Multi-track Looper, Springs, Objects, Radio], VoiceKaren Constance
  • Instruments [Objects, Radio], VoiceJonathan Bohman
  • Instruments [Tapes, Springs, Objects, Radio], VoiceDylan Nyoukis
  • Violin [Prepared], Strings [Home-made], Instruments [Objects, Wine Glass], VoiceAdam Bohman


Recorded November 5th, 2010 at Wiltons Music Hall, London as part of the Cut and Splice Festival

Edition of 100.


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June 1, 2017

Here we have a top-tier doubles match between two long running collaborations, making this something of a Jetsons meets the Flintstones affair. Hard to say who’s who—although Nyoukis’ trademark Neanderthal tongue might align Blood Stereo in the latter camp, it’s relatively toned down in what seems to be a pretty classy performance atmosphere for this one. The recording is ensconced in a medium sized hall ambience that formed an image of a rather posh venue in my mind, which turned out to be pretty spot-on after some quick research. A lot of improvisation frames the participants in a collaboration where they’re attempting to build something. Once they’ve constructed some likeness of house they can share a roof under, inevitably the players will decide it’s time to blow the fucker up and sift through the detritus for another fifteen minutes—or however long until they feel they’ve fulfilled their obligation to the audience. For the first part of Live at Wilton's Music Hall, we get something that’s more of an exercise in communication: four different players speaking two slightly different languages in a game of mind-meld. Metallic, springy, full frequency range call and response sound object work, starting from opposing corners in an effort to arrive at the center. Of course, they never quite reach it, but the listener is a privileged passenger for the sinuous journey. I’ll concede that this ain’t a perfect metaphor, as there’s also some found sound interjections and lovely mood-setting bowed instruments towards the end—but for the most part, this does feel quite different your usual electro-acoustic jam session. Part two (which is verbally demarcated and introduced, to the audience’s amusement) is a delightfully chaotic voice exercise featuring disparate texts cueing off and devouring one another. Karen Constance starts laughing more than once amidst the insanity, which is a refreshing thing to hear in contrast to the frequently too buttoned-up world of sound poetry. Obviously the Bloods always have a strong component of humor in their work—ditto for the Bohmans (my god, that Back on the Streets cover)—but even the biggest of goofballs can sometimes get caught up in themselves when intoxicated by the stuffy air of performance. This is also a good opportunity to hear Blood Stereo outside of their normal direct-line recording situation, really getting a chance to soak in the opulence of the hall and diffuse some crud into it. Pristinely captured and exquisitely mixed, the document preserves the spaciousness of the original happening in a rendering that’s a real treat for headphone listening.
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