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Keith Fullerton Whitman, "Multiples"
This is, by far, the best record Keith Fullerton Whitman has released. Playthroughswas an album of electronic, fuzzy bliss and his two most recent EPswere introductions to musical accomplishments Whitman had never shownbefore.
Kranky
They were searching, historical, and sometimes dark releasesthat showcased an ability to create excellent music on a number oflevels. Multiples comes across as a merging of everythingWhitman has done up to this point, but does not sound like a simplemingling of styles that have already been explored. Subtitled Stereo Music for Acoustic Electric and Electronic Instruments,the entire album fluctuates between manipulated live sounds, beautifulmusical bits generated by experimental equipment, and dreamlike, unrealsoundscapes. At times dark, at times wholly engrossing in its sleepyhappiness, the album falls out of the speakers like a blanket; itenvelops the world in a shadow and then slowly begins to vibrate, wave,and shake in a series of ghostly shudders and choral hums. By the timemore recognizably musical elements come into play there's already atangible mood in the room; it's not entirely comfortable, but therolling clockwork of "Stereo Music for Yamaha Disklavier Prototype (5),Electric Guitar and Computer (3)" acts like a salve and begins to stripaway the frightful anticipation that was building before it. Some ofWhitman's most directly gorgeous work is on this disc. His use ofmelody and synthetic washes of sound is top notch—there's never awasted moment or movement. One song will often wash into the next,confusing any sense of time or arrangement and focusing more on effectand feelings. Whitman's music may be intimidating on some levels;there's a certain amount of intellectual work behind every one of hisreleases, but that is not this album's most prominent feature. Whathe's managed to do is combine his relentless quest to produce new andinteresting music via new (or old) and interesting technology withspirit. Not to say his previous records have been lacking life, butthis record is so perfectly seamless, such an ear-catching, musicalalbum that it outshines and, at least at first, covers up all theintricate work that went into making it. This is not an album to listento solely because it was made in an interesting way or has someacademic value (even though it may have such value); this is an albumto listen to because it is unlike anything else in the world andbecause it is an outstanding and lovely cut of musical bliss.
Kranky
They were searching, historical, and sometimes dark releasesthat showcased an ability to create excellent music on a number oflevels. Multiples comes across as a merging of everythingWhitman has done up to this point, but does not sound like a simplemingling of styles that have already been explored. Subtitled Stereo Music for Acoustic Electric and Electronic Instruments,the entire album fluctuates between manipulated live sounds, beautifulmusical bits generated by experimental equipment, and dreamlike, unrealsoundscapes. At times dark, at times wholly engrossing in its sleepyhappiness, the album falls out of the speakers like a blanket; itenvelops the world in a shadow and then slowly begins to vibrate, wave,and shake in a series of ghostly shudders and choral hums. By the timemore recognizably musical elements come into play there's already atangible mood in the room; it's not entirely comfortable, but therolling clockwork of "Stereo Music for Yamaha Disklavier Prototype (5),Electric Guitar and Computer (3)" acts like a salve and begins to stripaway the frightful anticipation that was building before it. Some ofWhitman's most directly gorgeous work is on this disc. His use ofmelody and synthetic washes of sound is top notch—there's never awasted moment or movement. One song will often wash into the next,confusing any sense of time or arrangement and focusing more on effectand feelings. Whitman's music may be intimidating on some levels;there's a certain amount of intellectual work behind every one of hisreleases, but that is not this album's most prominent feature. Whathe's managed to do is combine his relentless quest to produce new andinteresting music via new (or old) and interesting technology withspirit. Not to say his previous records have been lacking life, butthis record is so perfectly seamless, such an ear-catching, musicalalbum that it outshines and, at least at first, covers up all theintricate work that went into making it. This is not an album to listento solely because it was made in an interesting way or has someacademic value (even though it may have such value); this is an albumto listen to because it is unlike anything else in the world andbecause it is an outstanding and lovely cut of musical bliss.samples:
