On this new LP, Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this new LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical," and "factory like." This first edition is packaged in a full color sleeve with metallic inks. Mastered by Tom Eaton at Sounds & Substance. Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures. Mechanization is just one of the many sonic directions Bertoia took while composing and recording between the late 1950s and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn. This first edition of 500 is printed using metallic inks. Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone -- a point he made himself many times in interviews. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; his brother Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.
