ckutmusic on 02/12/2013 at 07:15AM
The ring and decay of the bell calls to order, marking the onset on an aural peregrination. Space and place shift in this captivating live performance from CKUT alum Aaron Rosenblum at the now sadly defunct Williamsburg, Brooklyn venue Zebulon.
A captivating improvisation, balancing the right amount of tension and momentum that brought a hush upon the room, though it is hard to discern whether the sounds of people are of Aaron's devising, or that he adapted his sound to include the sound of the occasional chatter in the room. The lush field recordings have the effect of shifting the boundaries of the venue space, situating the listeners in a different place and time outside of context. Field recordings of crickets, chants, ocean crevasses, and perhaps an occassional cow interwoven with live manipulations of tape loops, percussive "instruments" like the garden weasel and other found objects are manipulated with minimal sensibility, lending a sparcity to what is a densely populated soundscape created with the utmost attention to placement and timing. This leaves me to believe that Aaron's practice is steeped in Schaefferian écoute reduite and Oliverian deep listening tuned to their finest.
Aaron Rosenblum has improvised and composed on guitar, violin, percussion, found instruments, field recordings and tape from headquarters throughout Massachussets, Kentucky, Maine, Québec and New York. Son of Earth, a trio with John Shaw (Magik Markers) and Matt Krefting, From 2005 to 2008, he was multi-instrumentl in psychedelic Louisville underground group Sapat. He has released several LPs of low-volume electroacoustics and continues to explore the boundaries of live performance practice. He's collaborated with and or performed as a guest member of Watersports, Sunburned Hand of the Man, Spectre Folk, Wooden Wand, the Cherry Blossoms, and Joshua Burkett.
You can bear witness to a rare live solo performance by Aaron on the first of March at the Silent Barn in Bushwick as part of the Strange Faces II.