Andrew Chalk


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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.

(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.

Forty-Nine Views In Rhapsodies' Wave Serene (Faraway Press, 2012) contains 49 delicate watercolors, pushing the chamber ambient music of Violins By Night, Ghost Of Nakhodka, and The Cable House to its minimal and melodic extreme, far removed from the droning monoliths that established his credentials. (Translation by/ Tradotto da xxx)

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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