Gench Music
Dust
by Chris Cutler and Thomas Dimuzio
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
$7 USD or more
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Compact Disc (CD) + Digital Album4 panel DigiPack.
Includes unlimited streaming of Dust via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 5 days$12 USD or more
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about
“Top 100 albums of 2002.” — LA Weekly
“...a true masterpiece which takes the intriguing premise of Quake to a wholly unprecedented new level.” (5 stars) — Prog Archives
“A very fine disc that leaves lots and lots to hear and will grow everytime hearing.” — Vital Weekly
Three years after Quake, Chris Cutler and Thomas Dimuzio came back with a second serving of confusing electrified percussion and sampling. If anything, this album goes even further in blurring distinctions between the two protagonists' contributions, between acoustic and electronic, between real-time performance and post-production. Dust consists of two highly demanding 20-minute pieces that have been over-subdivides in pure Cutler fashion. “Requiem" is pure live action from a concert in Albuquerque, New Mexico, late 2000. Dimuzio uses samples of an elemental/drone nature (wind, growling tectonic sounds), plus he samples and processes the sounds produced by the percussionist, himself playing his trademark electric drums (a drum kit equipped with microphones routed through effects and a mixer). The resulting music is a captivating chunk of maximalist electroacoustics, filled with unheard sounds and textures — Cutler's Solo CD with an extra layer of interaction. The origins of “Universal Decoding Machine" are found in a French studio on July 21, 2002. Using a similar set-up, Cutler and Dimuzio improvised while EM Thomas walked in and outside the studio wearing a binaural microphone set. His (her?) input was transmitted to engineer Bob Drake who processed and fed it back to the musicians through loudspeakers. Later, Dimuzio added overdubs, shaped and remixed the whole piece into its final form. It feels less spontaneous, much closer to electroacoustic composition, with an episode of noisy techno thrown in to destabilize the listener (and it works). Dimuzio is known for the depth of his sonic assemblages and Dust makes no exception. After going through this album, if you feel 41 minutes is too short a duration, maybe you need to listen again and pay closer attention. (4 stars) —François Couture/All Music Guide
“...a true masterpiece which takes the intriguing premise of Quake to a wholly unprecedented new level.” (5 stars) — Prog Archives
“A very fine disc that leaves lots and lots to hear and will grow everytime hearing.” — Vital Weekly
Three years after Quake, Chris Cutler and Thomas Dimuzio came back with a second serving of confusing electrified percussion and sampling. If anything, this album goes even further in blurring distinctions between the two protagonists' contributions, between acoustic and electronic, between real-time performance and post-production. Dust consists of two highly demanding 20-minute pieces that have been over-subdivides in pure Cutler fashion. “Requiem" is pure live action from a concert in Albuquerque, New Mexico, late 2000. Dimuzio uses samples of an elemental/drone nature (wind, growling tectonic sounds), plus he samples and processes the sounds produced by the percussionist, himself playing his trademark electric drums (a drum kit equipped with microphones routed through effects and a mixer). The resulting music is a captivating chunk of maximalist electroacoustics, filled with unheard sounds and textures — Cutler's Solo CD with an extra layer of interaction. The origins of “Universal Decoding Machine" are found in a French studio on July 21, 2002. Using a similar set-up, Cutler and Dimuzio improvised while EM Thomas walked in and outside the studio wearing a binaural microphone set. His (her?) input was transmitted to engineer Bob Drake who processed and fed it back to the musicians through loudspeakers. Later, Dimuzio added overdubs, shaped and remixed the whole piece into its final form. It feels less spontaneous, much closer to electroacoustic composition, with an episode of noisy techno thrown in to destabilize the listener (and it works). Dimuzio is known for the depth of his sonic assemblages and Dust makes no exception. After going through this album, if you feel 41 minutes is too short a duration, maybe you need to listen again and pay closer attention. (4 stars) —François Couture/All Music Guide
credits
released June 15, 2002
Chris Cutler: electrified and acoustic drums, processing
Thomas Dimuzio: sampler, live sampling. processing, reprocessing, synthesizers, feedback, CD, computer work
"Requiem"
Recorded live November 12, 2000 at Outpost Performance Space, Albuquerque, New Mexico. Recorded by Steve Peters. Room microphone and board recordings conformed at Gench Studios, San Francisco, California. Edited by Chris Cutler and Thomas Dimuzio.
"Universal Decoding Machine"
Realtime recording of Chris Cutler by EM Thomas wearing binaural microphone wandering in and around performance area, with simultaneous loudspeaker processing by Bob Drake on July 21, 2002 at Studio MIDI-Pyrenees, France. Additional overdubs, spatialization and mixing by Thomas Dimuzio September 2002 at Gench Studios.
Cover design and layout by Anne Bonham.
Mastered by Thomas Dimuzio at Gench Studios.
Produced by Chris Cutler and Thomas Dimuzio.
Special thanks: Fausto Carares, CMW, Compound Eye, Peter Conheim, Beth Custer, Bob Brake, Janet Feder, Fred Frith, Sleepytime Gorilla Museum, Tom Guralnick, Scot Jenerik, Dave Kerman, Jon Leidecker, ALex Lemski, Outpost Performance Space, Derk Richardson, Carl Stone, and EM Thomas
© 2002 Chris Cutler and Thomas Dimuzio
℗ ReR:Glass/Gench Music (BMI)
Chris Cutler: electrified and acoustic drums, processing
Thomas Dimuzio: sampler, live sampling. processing, reprocessing, synthesizers, feedback, CD, computer work
"Requiem"
Recorded live November 12, 2000 at Outpost Performance Space, Albuquerque, New Mexico. Recorded by Steve Peters. Room microphone and board recordings conformed at Gench Studios, San Francisco, California. Edited by Chris Cutler and Thomas Dimuzio.
"Universal Decoding Machine"
Realtime recording of Chris Cutler by EM Thomas wearing binaural microphone wandering in and around performance area, with simultaneous loudspeaker processing by Bob Drake on July 21, 2002 at Studio MIDI-Pyrenees, France. Additional overdubs, spatialization and mixing by Thomas Dimuzio September 2002 at Gench Studios.
Cover design and layout by Anne Bonham.
Mastered by Thomas Dimuzio at Gench Studios.
Produced by Chris Cutler and Thomas Dimuzio.
Special thanks: Fausto Carares, CMW, Compound Eye, Peter Conheim, Beth Custer, Bob Brake, Janet Feder, Fred Frith, Sleepytime Gorilla Museum, Tom Guralnick, Scot Jenerik, Dave Kerman, Jon Leidecker, ALex Lemski, Outpost Performance Space, Derk Richardson, Carl Stone, and EM Thomas
© 2002 Chris Cutler and Thomas Dimuzio
℗ ReR:Glass/Gench Music (BMI)
license
all rights reserved
tags
about
Chris Cutler and Thomas Dimuzio London, UK
Chris Cutler's electrified percussion meets Thomas Dimuzio's live sampling wizardry, creating captivating soundscapes that defy genres. Fearless and groundbreaking, their collaborative work redefines the possibilities of sound. Fred Frith, C.W. Vrtacek (aka Charles O'Meara) and Beth Custer are collaborators among their several releases. ... more
discography
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Sep 2010 -
Jun 2002 -
Oct 1999 -
Sep 1995
contact / help
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