Lilith -- Field Notes -- World Domination Recordings

The recordings on this album are compiled from five different live performances, but are presented here as one continuous mixand recorded on location(s). Remixed August 23, 1998.

Track Listing

The Lab's Granular Synthesis Showcase "Particle System" (Chicago-USA) Jun-13-98, Comandini Theatre (Cesena-Italy): Feb-21-98,
A|R|S Electronica Festival (in a tunnel under the city of Linz-Austria): Sep-8-97,
E|S|P Convention (Normal-USA): May-2-97,
The Double Door (Chicago-USA): Nov-15-96

For this release, Lilith is:

Scott Gibbons: wind & string instruments, percussion, homemade & prefab synths, on-the-fly sampling/manipulation (percussion), computer, manipulated field recordings of the Danube River,
Rachel Wilson: percussion, homemade & prefab synths, vocals, manipulated field recordings of the Danube River,
Brien Rullman: immersive projected visuals
Light-controlled synthesizers and control devices built by Scott Gibbons.

"The continual influx of unknowable sounds from Gibbons' self-made synths and relentless alteration of source materials will prove too much for listeners who are customarily spoon-fed smooth, sweet dollops of musicality.
But those interested in a bit of unpredictability will find a continuous feast of intriguing sonic wonders."

- David J. Opdyke, AmbiEntrance

     This release is quite a production, assuming you have read what is written above, ie. where these sounds were recorded, you would perhaps agree. Lilith founder Scott Gibbons is yet another master in minimal sound engineering. Not only does he work with sound, but sound and light as well with light-controlled synthesizers, and acoustic instruments. I have never seen one of his shows, much to my dismay, but if he plays near you (Chicago or Europe), don't miss him, for I am sure it is an adventure not to miss.
    The recordings on this release range from minimal soft drones and gentle atmospheric textures blended with sounds that seem like bells, to quitely lurking high pitch single notes, swirling short and crunchy noise insertions, bleeps, blurps and pulsing space age electro and acoustic- manipulations. There are places on the release where it sounds like there is some live bongo drumming going on creating a beat that one can follow with noise layered to the beat. It's rather spooky and mesmerizing, very smooth.
    The disc has only one track. All live recordings listed above were blended into one aural canvas on this release. "Field Notes" is what I would term a type of experimental ambient minimal noise, if I had to try to classify it, which is never an easy thing to do. Gibbons uses his machines and instruments to produce high quality work of interference landscapes, albeit they are at times abrupt, the pieces tend to flow together as a unified composition.
    You could listen to this release as background music while studying or working on "quiet" things, or you could turn it up loud and escape into the sounds and break free from your daily regimen of tasks. If you wish to actually "hear" this music, listen carefully, many sounds going on at one time! An overall excellent piece of mixing, production and innovation in sound forging by Gibbons and crew on "Field Notes."