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Andrew Chalk had debuted in 1985 with the
free-form industrial noise of his project Ferial Confine, documented on
Meiosis (Broken Flag, 1985) and The Full Use Of Nothing (Fusetron, 1985) before evolving into the less extreme soundpainting of
First, Second And Third Drop (1986). He also
contributed to David Jackman's Organum,
and joined the British collective Ora in 1991.
Chalk emerged solo with the crystalline, shimmering ambient music of
(b>East of the Sun (1997), containing Winter Arc (1994) and The Plain (1996),
and soon became a specialist of ringing overtones.
His pre-Ora works is documented on two anthologies:
Crescent (2000) collects the cassettes Crescent (1986) and Harvest (1988), whereas
Tahta Tarla (1993), a collaboration with Giancarlo Toniutti,
contains Chalk's Warkswood (1988) as well as
Toniutti's Tienalauami.
Over the Edges (1999) contains three untiled works of 1997 obtained by exciting only two strings of an acoustic guitar with an e-bow (an experiment along the lines of old ideas by Alvin Lucier and Ellen Fullman).
Sumac (1999) documents a 71-minute collaboration from 1997 between Jonathan Coleclough and Andrew Chalk.
This Growing Clearing (2004) documents a collaboration between Brendan Walls and Andrew Chalk.
Fall In The Wake Of A Flawless Landscape (2004) contains one 41-minute track.
The 74-minute two-movement droning symphony of
Shadows From The Album Skies (2004), possibly his masterpiece,
is devoted to extended droning-guitar monoliths whose overtones hark back to the experiments of Phill Niblock and Eliane Radigue.
The River That Flows Into The Sands (2005) and The River That Flows Into The Sands II (2006) explore oneiric and ghostly guitar soundscapes.
Blue Eyes Of The March (2006) is a 51-minute suite for solo piano.
Mirror is a prolific collaboration between Christoph Heemann and Andrew Chalk
that has rarely produced major works. The first one,
Eye Of The Storm (1999), built out of
manipulated natural sounds, ringing percussion, fluttering electronics and
Heeman's sustained bowing drones,
would have been enough to make the point.
The deluge of releases that followed was hardly justified by the narrow concept:
Ringstones (1999), Mirror of The Sea (2000), Front Row Centre (2000), Nightwalkers (2000), The View (2000), Visiting Star (2000), I Paint For Love Of Color (2001), Islands (2001), Nights (2001), Die Spiegelmanufaktur (2002) with Jim O'Rourke,
Nights (2002), Solaris (2002), that introduced elements of
dissonant avantgarde music,
A Pilgrim's Solace (2003),
Figures In A Landscape (2004), Places Of Light (2004), Under The Sun (2004), Nightwalkers (2005)
with Andreas Martin,
Still Valley (2005), the denser
Viking Burial For A French Car (2005).
Goldfall (2006), one of his best,
and the inferior Time Of Hayfield (2007) manipulate piano notes by Vikki Jackman.
Vega (2006) turned to a more ethereal atmosphere.
The Days After (2007) collects Mirror works from the early 2000s.
Isolde is the duo of Andrew Chalk and Robin Barnes that released
All Things To Fall Like Marching Men (Penny Poppet, 2005),
You're Alone In Red Riding Picture (2005) and
On Waving And Drowning (Penny Poppet, 2006).
The Cable House (Faraway Press, 2009) creates fragile ghosts of melodies
out of piano notes. Half of it is taken up by the 20-minute
Naybuchi.
In Faxfleet Clouds Uplifted Autumn Gave Passage To Kind Nature (Faraway Press, 2009)
documents a collaboration with Daisuke Suzuki (an old Ora collaborator).
Ghost of Nakhodka (2009 - Siren, 2010) was an excursion into
ambient and minimalist chamber music.
Violin By Night (Faraway Press, 2011) produced lyrical drones out of
piano, guitar, electronics and field recordings.
Echos Pastoraux (La Scie Doree, 2011), credited to Elodie, documents a collaboration between Andrew Chalk and Belgian composer Timo Van Luijk.
La Lumiere Parfumee (Faraway Press, 2012) was its follow-up.
Andrew Chalk launched the project Marsfield with
The Towering Sky (Faraway Press, 2010), recorded with
Vikki Jackman, Robin Barnes, and Brendan Walls in 2005, and
Three Sunsets Over Marsfield (Faraway Press, 2010), that collects
recordings from 2002.
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(Translation by/ Tradotto da Andrea Marengo)
Andrew Chalk aveva debuttato nel 1985 con l'industrial noise
free-form del suo progetto Ferial Confine documentato su Meiosis (Broken Flag,
1985) e The Full Use Of Nothing (Fusetron, 1985) prima di progredire nel meno
estremo soundpainting di First Second And Third Drop (1986). Egli contribuì a
fondare gli Organum di David Jackman, aderendo inoltre al collettivo Ora nel
1991.
Chalk debuttò come solista con l'ambient cristallina e
scintillante di (b>East Of The Sun (1997), diventando presto uno specialista
degli ipertoni squillanti. L'album contiene Winter Arc (1994) e The Oplain
(1996).
Il suoi lavori pre-Ora sono documentati in due antologie:
Crescent (2000), contenente le cassette Crescent (1986) e Harvest (1988), e
Tahta Tarla (1993), contenente Tienalaumi (1988) e Warkswood (1988).
Over The Edges (1999) contiene tre lavori senza titolo del
1997 ottenuti pizzicando soltanto due corde di una chitarra acustica con un
e-bow (un esperimento che segue la scia delle prime idee di Alvin Lucier ed
Ellen Fullman). Sumac (1999) documenta una collaborazione di settantuno minuti
del 1997 tra Jonathan Coleclough e Andrew Chalk. This Growing Clearing (2004)
documenta una collaborazione tra Brendan Walls e Andrew Chalk. Fall In The Wake
Of A Flawless Landscape (2004) contiene una traccia di quarantuno minuti. La
sinfonia di settantaquattro minuti in due movimenti di Shadows From The Album
Skies (2004), probabilmente il suo capolavoro, è fedele ai monoliti estesi
della droning guitar mentre gli ipertoni rievocano gli esperimenti di Phill
Niblock e Eliane Radigue.
The River That Flows Into The Sands (2005) e The river That
Flows Into The Sands II (2006) esplorano onirici e spettrali paesaggi sonori
per chitarra.
Blue Eyes Of The March (2006) è una suite di cinquantuno
minuti per solo pianoforte.
Mirror è una prolifica collaborazione tra Christoph Heeman
ed Andrew Chalk che raramente ha prodotto lavori significativi. Il primo, Eye
Of The Storm (1999), costruito adoperando suoni naturali manipolati,
percussioni squillanti, elettroniche fluttuanti e i droni inarcati e prolungati
di Heeman, conteneva spunti sufficienti per mettere a punto un'idea.
L'inondazione di pubblicazioni avrebbero però difficilmente giustificato quel
concetto limitato: Ringstones (1999), Mirror Of The Sea (2000), Front Row
Centre (2000), Nightwalkers (2000), The View (2000), Visiting Star (2000), I
Paint For Love Of Color (2001), Islands (2001), Nights (2001), Die Spiegelmanufaktur
(2002), realizzato con Jim O'Rourke, Nights (2002), Solaris (2002), che
introduceva elementi di musica d'avanguardia dissonante, A Pilgrim's Solace
(2003), Figures In A Landscape (2004), Places Of Light (2004), Under The Sun
(2004), Nightwalkers (2005) realizzato con Andreas Martin, Still Valley (2005)
e il più denso Viking Burial For A French Car (2005).
Goldfall (2006) è uno dei suoi lavori migliori, mentre
l'inferiore Time Of Hayfield (2007) manipolava le note del pianoforte di Vikki
Jackman. Vega (2006) proponeva invece un'atmosfera più eterea.
The Days After (2007) raccoglie lavori di Mirror risalenti
ai primissimi anni del nuovo millennio.
Isolde, ovvero il duo di Andrew Chalk e Robin Barnes,
pubblicarono All Things To Fall Like Marching (Penny Poppet, 2005), You're
Alone In Red Riding Picture (2005) e On Waving And Drowning (Penny Poppet,
2006).
The Cable House (Faraway Press, 2009) creava delicati
spettri di melodie dalle note del pianoforte. Metà dell'album è occupato dai
venti minuti di Naybuchi.
In Flaxfleet Clouds Uplifted Autumn Gave Passage To Kind
Nature (Faraway Press, 2009) documenta una collaborazione con Daisuke Suzuki
(un ex collaboratore degli Ora).
Ghost Of Nakhodka (2009 - Siren, 2010) era un viaggio
nell'ambient e nella musica da camera minimalista.
Violin By Night (Faraway Press, 2011) proponeva droni lirici
ottenuti da pianoforte, chitarra, elettronica e vari field recording.
Echoes Pastoraux (La Scie Doree, 2011), accreditato a
Elodie, documenta una collaborazione tra Andrew Chalk e il compositore belga
Timo Van Lujik. La Lumiere Parfumee (Faraway Press, 2012) era il suo seguito.
Andrew Chalk lanciò il progetto Marsfield pubblicando The
Towering Sky (Faraway Press, 2010), registrato con Vikki Jackman, Robin Barnes
e Brendan Walls nel 2005, e Three Sunsets Over Marsfield (Faraway Press, 2010),
contenente registrazioni risalenti al 2002.
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