KEITH FULLERTON WHITMAN
GRM [Redactions] (17117)
A bit of a dream come true; Keith Fullerton Whitman effectively does dub jazz concrète on a deeply rewarding longform session placing him somewhere in the vicinity of Porter Ricks, Laurie Spiegel, early Vladislav Delay x Jim ORourke in vaporous mode. The second in a limited edition three-part series for Japans NAKID label.
After unravelling our minds and tendons with a flux of polymetric footwork experiments on the recent first part, KFW returns with a properly eye-watering second volume containing perhaps the most captivating material weve heard from him in two decades. Extracted from a fathomless archive of recordings made over the past 12 years of practice with his Generators set-up (as first found on the seminal Disingenuity / Disingenuousness, and Generator sides in 2010), these durational works, like his previous set, find him in dialogue with his system, but this time with notably deeper results; unfolding 50 minutes of introspective, highly evocative beat-less turbulence split over two extended sides.
Again, Whitman is present but only makes the most minimal, intermittent adjustments to his system in-the-moment, allowing the algorithm to flex and morph its code in gloriously ribboning forms. For almost an hour (that could go on twice as long and not lose our interest), he generates a jaw-dropping swell of gritty brownian motion and reverberating dub chords, accreting the sounds of distant trains, planes overhead, and flickering spiritual jazz notes in its pitching and shearing elemental nature.
As far as we can recall its the most sensuous and uncannily emotive piece weve ever heard from him, highly immersive - and a certified instant classic in our book.