Thinking of Eternity
Four untitled tracks recorded in 1998 in dedication to Moebius & Roedelius, aka Cluster.
Some perceptions have it that PBK disappeared or his activities slowed down during the 90's but that's a misconception, he was actually very busy during this time. Phillip B. Klingler moved to Puerto Rico in 1992 just as his first solo CD, Macrophage, was being released. I've said before that my work there became very isolationist, outside the world of the tape network, living in a place where there was no noise community or interest in noise, I turned inside to find a new means of creative expression. He began working with extreme turntable manipulation (inspired by AMK's work) and use of radical midi sequencing. In late 1998, using the same techniques by which he had composed the psychedelically inspired music of the year before, PBK spontaneously began working on a quartet of pieces as a tribute to the Cluster album he had become obsessed with. All of my synthesizers and samplers would be set up and running via two synched midi-sequencers, everything mixed live while manipulating the sounds by hand to achieve these incremental timbral changes, the slow effect of tones fluxing and returning later in a changed form. I used sample loops that were appropriated but I can't remember the sources. I combined them with synth sounds and noises and mixed it all very carefully in real-time.
The story stops there for nearly twenty years. As these things happen, a musician shelves a project for various reasons, maybe it seems unfinished, or they are distracted by other projects they are working on. In this case, his collaboration with Russian composer, Artemiev ("Dreams In Moving Space"), took precedence and attention, so PBK stored the master tape with thoughts of returning to the material at a later time. But then a personal crisis happened in 1999 and with my marriage ended, the master tape went into storage and went unheard by any other ears until unearthed in 2016.
Phillip B. Klingler - electronics, mix
Korg MS20, Roland S220 Sampler, Roland SH-101, Roland MSQ100 Sequencer, Korg DSS1 Sampler, Yamaha DX100, Yamaha QX21 Sequencer, various FX units
Mastering: Martin Bowes @ The Cage Studios (April 2017)
Cover concept: Susana Mendes Silva