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Click Track Toe

by julianbroadhurstphasem

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1.
Click Track Toe 01:00:13

about

DCM 014 - Click Track Toe - Phase music, Phm 4 - my 14th album. A Blizzard of minute changes in 5 fold ‘Asymetric Phasing'

Click track Toe – Rh 140. An outrageously minimal work and my first to extend over the hour mark. It was created from the differential alignment of five Click tracks, the anonymous click, click, click, that is played through the headphones of someone recording a part in a studio, to keep them in time. Using electronic means to give weight to an individual click, the tracks were laid over one another, to phase in bursts of machine gun like percussion, varying by minute steps each time, barely perceptible to the moment. The point of this was to create an experimental piece that would test almost to the limit the perceptual discrimination of the listener. This music is a total emersion environment, in which you become completely absorbed by the piece, and loose yourself to it. Weather repeated hearings would drive you out of your mind I don’t personally know ! I do know it to be a fascinating piece, a mechanical minimalism, on the scale of Reich’s music for 18 musicians but with the mechanical necessity and logical coherence of Phasing. Since the only thing that varies are the changes, it is a ‘music for changes’. The title puns on that of the game ‘Tick Tack Toe’. It is the first major piece for my Phm genre. Though produced in an unconventional way, it is rooted firmly in a Music to be perceived - and absorbed, as such.

Phase music, as I define it, Is one in which tapes or loops of tape, are offset against one another, at a given time interval, so that their complexes of content will ride apart from one another and ride back into sync, over a period given by the offset. They are said to 'Phase', rather, to go in and out of Phase. Over a short phase, the effect is predictable, over longer phases however, whist necessarily automatic, the result is, if the material is sufficiently complex, seemingly unpredictable. That is to say it can result in material, and musical effects, 'greater', literally, than the sum of its parts. One must choose one’s material carefully, and off set to phase with even more caution. The trick is to play back and re-cut the phase, as many times as is necessary, until the result interests the ear, then as music. In that sense, you can be said to have composed it - that is that you derive the result you want. Sometimes though, Nature surprises you - then I'd say I've been 'Given' it – as I often did in Art.


An early reorganization of my music research interest defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Phase music; Phm - music derived from Tape Loops and Phase timing – by convention Phm.

An early reorganization of my music research interest defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Phase music; Phm - music derived from Tape Loops and Phase timing – by convention - Phm.

Albums 11 to 15 are the first five Phm albums, placed in a block, one of 5 blocks, placed like books on a shelf. in an in an overarching 'Group' of my first 27albums. Five Blocks for the Five Tranches - as they were founded (more of less) - five sets of studies and pieces, as my Foundational Group 'Blue Cherry' [after a friend]. The foundation stone the rest of my music is built on - in four further Groups.

The Five Phm albums in the Blue Cherry Group are: three volumes of quite advanced studies – Phm 1 Mechanical Phase music; Phm 2 Elevation Phase ; and phm 3 Mechanical Clock music; with two large scale works – Phm 4 Click Track Toe and Phm 5 Jove.

Beginning as a percussionist my first 7 albums are for Drums of various kinds, Drum music or Dm, my first area of research interest or Tranche. I soon realised there was a second area of percussion, as a generality over a specialism - percussion on anything other than Drums, MPm. The third of of five was the Phase music, realised by tape looping and timing - by convention – Phm.

The DCM album numbers are volumes in a [for the most part] chronological edition.- The DCM Broadhurst Edition - Prepared for the British Library in 2018. The Volumes or Albums themselves were actually released as and when it was possible. The Edition though, was planed to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my works, in order of Completion.

credits

released August 26, 2013

Julian Broadhurst - Field recording, Composition, Realisation and Mastering at Drum studio Phase lab.

The Drum Studio Phase Lab was an area in my old studio reserved for this type of work.

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julianbroadhurstphasem Derby, UK

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