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- QUINTRON "sucre du sauvage" 12" 2XLP
QUINTRON "sucre du sauvage" 12" 2XLP
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From Januray 29 thru May 2, 2010 Quintron punched a time clock and reported to work at The New Orleans Museum of Art to write and record the album "SUCRE DU SAUVAGE" in a public gallery space. The official title of the entire exhibit, which also included a Drum Buddy retrospective and an enormous puppet display, was "Parallel Universe - Quintron and Miss Pussycat Live In City Park". Quintron's intent behind the museum recording studio was not to entertain visiting museum goers with any kind of performance, but to completely ignore them and go about the business of making this record. When needed, viewers would be pulled into the process and used for backing vocals, hand claps, grunting, etc. During the final 7 days of recording, Quintron chose to imprison himself within the museum and its surrounding grounds - a beautiful swampy nature preserve called "New Orleans City Park" He would roam the park by night making field recordings and then weave them into the final mixes of the album by day. The week concluded with a blindfolded listening party in the NOMA auditorium (see album cover).
The result of this experiment is a severely schizophrenic dual album. Part one is Quintron writing the way he usually does but with far wider instrumentation. Tympani, vibraphone, whistling, and tape loops join the ranks of Drum Buddy and electric organ. There is also a noticeable increase in the number of chords used per song compared to previous Quintron albums - like from one chord to maybe more than one chord. There are also two dreamy Miss Pussycat tunes entitled "Banana Beat" and "Spirit hair". You can hear noise and field recordings creeping into this first half of "SUCRE DU SAUVAGE", attempting to take over the songs but failing.
In part two the noise and field recordings win the battle hands down as music and structure completely give over to the urge to let all these disparate sounds join hands and run wild. Electronic and acoustic instruments blur together with ducks, insects, birds, water, and even museum elevators until they all become brutal hypnotic madness.
The NOMA sessions produced literally thousands of hours of tape. What you have here is the cream of that crop - the sucre du sauvage. There was no post production or overdubs. When the exhibit closed, the album was finished. It is what it is and it probably aint happening again any time soon.
The result of this experiment is a severely schizophrenic dual album. Part one is Quintron writing the way he usually does but with far wider instrumentation. Tympani, vibraphone, whistling, and tape loops join the ranks of Drum Buddy and electric organ. There is also a noticeable increase in the number of chords used per song compared to previous Quintron albums - like from one chord to maybe more than one chord. There are also two dreamy Miss Pussycat tunes entitled "Banana Beat" and "Spirit hair". You can hear noise and field recordings creeping into this first half of "SUCRE DU SAUVAGE", attempting to take over the songs but failing.
In part two the noise and field recordings win the battle hands down as music and structure completely give over to the urge to let all these disparate sounds join hands and run wild. Electronic and acoustic instruments blur together with ducks, insects, birds, water, and even museum elevators until they all become brutal hypnotic madness.
The NOMA sessions produced literally thousands of hours of tape. What you have here is the cream of that crop - the sucre du sauvage. There was no post production or overdubs. When the exhibit closed, the album was finished. It is what it is and it probably aint happening again any time soon.
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