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Turzets

by James Rushford

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    LP pressed at RTI. Tip-on jacket with gold foil stamping printed at Stoughton Printing Co. Lacquer cut by John Golden. Mixed and Mastered by Stephan Mathieu.

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1.
2.
Quire I 04:23
3.
Quire II 00:42
4.
Quire III 01:46
5.
Quire IV 01:11
6.
Quire V 00:18
7.
Quire VI 01:47
8.
Quire VII 02:38
9.
Quire VIII 00:31
10.
Quire IX 00:20
11.
Quire X 03:28

about

The latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece “Fallaway Whisk” explores hesitation in its many forms—reticence of speech, sonic restraint—using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, “Quire” is a work in ten movements influenced by the composer’s study of late medieval repertoire on portative organ, weaving the instrument’s woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry.

Rushford’s work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as “electro-acoustic experimentation with a beating heart” (Boomkat) and “haunted Jacobean ASMR” (The Wire). Investigating the creases, cracks, and folds in traditions ranging from early music to New Age, Rushford’s work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford’s solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou’s 1959–67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).

credits

released April 5, 2024

Composed and recorded in 2022 by James Rushford at La Becque | Résidence d'artistes

Cover image: Greg Parma Smith, Banner Union in Love's Dimensions (2019) courtesy David Lewis Gallery

Thanks to La Becque Residence d'artistes, Anorak e. V, Bernadette Pack, Rebecca Lane, Steven Eckler.

Mixed and Mastered by Stephan Mathieu at Schwebung Mastering

Designed by Alec Mapes-Frances

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Blank Forms Editions Brooklyn, New York

Blank Forms is a non-profit organization dedicated to supporting emerging and underrepresented artists working in a range of time-based and interdisciplinary art practices, including experimental music, performance, dance, and sound art. Blank Forms provides artists with curatorial support, residencies, commissions, and publications to help document, disseminate, and advance their practices. ... more

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