[eh?125]Bong Watt
If It Works, It's Obsolete
[eh?124]Ricardo Arias // Violeta García
[eh?123]Eloine + Ypsmael / Coims
[eh?122]John Collins McCormick
Healthy Alternative To Thinking
[eh?121]charles lareau
Box of Black
[eh?118]Jeff Surak
Eris I Dysnomia
[eh?117]Terrie Ex & Jaap Blonk
[eh?116]Erin Demastes
Thing Music
[eh?115]Kal Spelletich
The Blessing of the ZHENGKE ZGA37RG
[eh?113]Tech Riders
For Eternity
[eh?112]Abigail Smith
Indochina Soundscraps
The Realisation That Someone Has Been Stood Behind You Your Entire Life
[eh?110]Johannes Bergmark / Guido Hübner
nisip noaptea
[eh?109]Seeded Plain
Flying Falling
The Furies Inside Me OST
[eh?107]Jaap Blonk
Joyous Junctures
[eh?106]Sindre Bjerga
Hesitation Marks
[eh?105]Patrick Shiroishi / Arturo Ibarra
LA Blues
Atomnye Deti
[eh?103]Seeded Plain
Buffets Close Suddenly
[eh?102]Tania Chen & Jon Leidecker
Live In Japan
[eh?101]Cookie Tongue
Orphan Arms
monument 36
[eh?99]Bill Brovold
Misty Nights
[eh?97]L. Eugene Methe and Megan Siebe
Revisited, Revisited, Revisited
[eh?96]Felipe Araya
[eh?95]Eoin Callery
[eh?93]Bad Jazz
[eh?92]Ernesto Diaz-Infante
My Benign Swords
[eh?91]Larnie Fox
In The Cathedral of Airplanes
[eh?90]Tom Djll
[eh?89]Leonard * Day * Jerman
[eh?88]Das Torpedoes
Qu Nar
[eh?87]Ben Bennett & John Collins McCormick
[eh?86]Daniel Wyche
Our Severed Sleep
[eh?85]Seeded Plain
Spill Containment
[eh?84]Bad Jazz
Bad Dreams In The Night
[eh?83]Chefkirk & Andrew Quitter
Kaiju Manifestos
[eh?82]Venison Whirled
[eh?81]Gary Rouzer
Studies and Observations of Domestic Shrubbery
[eh?80]Unrepeatable Quartet
Edmonton 2012
[eh?79]Stefan Roigk
[eh?78]Lucky Bone
[eh?77]Jeffrey Alexander
No Sacred Snow, No Sacred Show
[eh?76]Bruno Duplant / Pedro Chambel / Fergus Kelly
(Winter Pale) Red Sun
[eh?74]Graves / Kreimer / Wilsey / Bachmann
The July Amalgam
[eh?73]Sky Thing
Virgin Journalist
[eh?72]Cactus Truck
Live in USA
[eh?71]Various Artists
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[eh?70]Alice Hui-Sheng Chang, Park Seungjun and Jin Sangtae
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[eh?69]Edward Ricart & Tim Daisy
Yiu Ja Ley
[eh?68]Chagas And Schafer
Gesture To The Declining Sun
Plasma Clusters
[eh?66]Jeff Kaiser / Nicolas Deyoe
Chimney Liquor
[eh?65]Close Embrace of the Earth
At the Spirits Rejoice Festival
[eh?64]Jean-Marc Montera & Francesco Calandrino
Idi Di Marzo
[eh?63]Un Nu
[eh?62]Bailly / Millevoi / Moffett
Strange Falls
[eh?61]Jacob Felix Heule & Bryce Beverlin II
Space Sickness
Mud Layer Cake
[eh?58]Strongly Imploded
Twilight of Broken Machines
we must leave the warren
Moist Areas
[eh?55]Eloine & Sabrina Siegel
Nature's Recomposition 33
Any Port In A Storm
[eh?53]Eckhard Gerdes
!Evil Scuff Mud
[eh?52]Psychotic Quartet
[eh?51]Federico Barabino
Can You Listen To the Silence Between the Notes?
The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
Non Troppo Lontano
[eh?46]Delplanque / Oldman
Chapelle de l'Oratoire
[eh?45]The Epicureans
A Riddle Within a Conundrum Within a Game
[eh?44]Croatan Ensemble
[eh?43]Man's Last Great Invention
[eh?42]Sad Sailor
Link to the Outside World
[eh?41]Ricardo Arias / Miguel Frasconi / Keiko Uenishi
[eh?40]Andreas Brandal
This Is Not For You
[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
We Need You
[eh?37]David Moscovich
Ass Lunch
Four Plus One
I Manage To Get Out by a Secret Door
Dirty Realism
[eh?33]Jesse Krakow
World Without Nachos
Wave the Old Wave
[eh?30]Bryan Day
Four Televisions
Hear Here
Yama Labam A
[eh?27]Shelf Life
[eh?26]Papier Mache
[eh?25]Papier Mache

Gary Rouzer - Studies and Observations of Domestic Shrubbery
CD-R (Washington, DC)

-Sky Saw
-Giant Hogweed
-Chokeberry Swallow

Gary Rouzer : Cello, Clarinet, Cardboard

(Disaster Amnesiac) Emerging from the ether wrapped in an elegantly simple brown slip case and decorated with Bryan Day's cool asemic writing, Studies and Observations of Domestic Shrubbery presents four pieces that click, chatter, and drone. Composer Gary Rouzer utilizes cello, clarinet, and cardboard as sound generators. Disaster Amnesiac puzzles over which sounds are emanating from the cardboard, but thinks that it may be these kind of scrape-ey whooshes that arise from the mix. The cello sounds are much more easily appraised, as Rouzer pulls long tones from them to produce said drones, along with percussive bowing techniques on the strings and possibly the body of the instrument. His clarinet sounds are generally high-pitched signals that arise from the the low stuff of cardboard and cello. Perhaps the most striking aspect of Studies and Observations is the ways in which Rouzer uses silence: long pauses in the action provide drama inducing tensions, before leading into new exploratory spaces. Far from being Harsh, the Noise that Rouzer cooks up is full of these spaces and their attendant release. Four really enjoyable multi-tracked observations, here. - Mark Pino

(Vital Weekly) From Washington DC is Gary Rouzer, whose work deals usually with electronics, preparations, motors, tapes or amplified objects, but not on this new releases. Here he limits himself to the use of cello, clarinet and cardboard - of which he notes that 'each produce very similar sounds that could be mistaken for breathing', and that he wanted to play these instruments/objects in such a way that it would be hard to tell which is what here, and I must say he succeeded quite well at that. He adds a bit of field recording here and there, but otherwise nothing much else. He plays everything and records it on the computer and treats it 'as is'; no effects are added later on. I do believe, however, that he does use the multi-track function so that he can overlay sounds and create a more complex composition. Not that these pieces are overtly complex anyway, and I don't mean this in a negative way. I very much enjoy the four pieces Rouzer plays here: they are very minimal, with say sustaining sounds on the cello and clarinet and the rubbing of the cardboard on a surface - I am describing 'Chokeberry Swallow' here - which slowly drifts apart and the clarinet has a somewhat more free role. The music is kept 'small' and doesn't drift wildly apart but has a rather intimate feeling. It's throughout quiet music that doesn't always require off attention. Maybe an interesting mixture of improvised music and ambient, played with acoustic instruments and sound sources. A well refined release. - Frans De Waard

(Monk Mink Pink Punk) With records devoted to electric fish, peyote, drying out trees, museum and industrial tower visits reviewed this issue, sure: field recordings of shrubbery. But this title is tongue in cheek from multi-instrumentalist Gary Rouzer, who overdubs clarinet, cello and cardboard into slow moving drones. I don’t know how the cardboard fits into the mix, but for those like me who enjoy the sound of clarinets and cellos, this is an interesting listen, not falling into any easily recognizable category. Too noisy to be chamber music, too static to be noise music, too ordered to be improv. These broad categories I put these reviews into aren’t meant to be taken seriously, they are just a way to break up the reviews into smaller web pages. The quiet explorations of instruments here make me think of Jim Denley’s work. - Josh Ronsen

(Invisible Oranges) The title of this work and the fact that on his bio Gary Rouzer makes use of Dorothy Parker’s quote: “The cure for boredom is curiosity. There is no cure for curiosity,” reveal an artist with a healthy dose of sarcasm. The main instruments that Rouzer makes use of in his work are cello, clarinet, amplified objects and field recordings. Through this majestic study, Rouzer ventures into the abstract music domain. Presenting elements of free improvisation, noise, drone and field recordings he is able to construct an all-encompassing ambiance for his music. Studies and Observations morphs constantly from one moment to the next, managing to produce instances of chamber music, big drone soundscapes, dramatic cello interludes and unique textural sounds. Who knew one could deduce that much from shrubbery? - Joseph Schafer

(Sound Projector) Gary Rouzer is a US improvising musician with an interest in mechanical processing and the different means of interlinking and layering his chosen materials. He is an example of an utterly open-minded classical musician who has a passion for exploring the sonic potential of not just his own familiar items of classical instrumentation, but the musical possibilities and unfamiliarity inherent in electro-acoustic improvisation. He approaches this with not inconsiderable amounts of rigour, as evidenced within his amptext blog. On the strangely titled Studies and Observation of Domestic Shrubbery, Rouzer utilises clarinet, cello and cardboard on his recordings and acquits himself well. I’m fascinated by the sounds produced when objects are rubbed together, scraped, struck and allowed to influence musical instruments and so on and admirably, it seems Rouzer considers the results of these processes as equal to those of his considerable technique on his instruments. His enthusiasm for the possibilities afforded by utilization of humble pieces of cardboard is fascinating. I suspect for him, improvisation is less a method of banal discovery – letting things present themselves to him like so many “experimental” musicians – but more a way of figuring things out. Particularly enjoyable moments for me are numerous; the sparse interjections of field recordings at the beginning of the third piece ‘Giant Hogweed’ and the density, relentlessness and pace of opener ‘Sky Saw’, for example. I’m also keen to acquire a new release Rouzer has out with viola player Paolo Valladoid on Confront, whereupon they performed inside a tunnel open to the public in a Virginian nature trail. Performances of this site-specific type often throw up interesting accidentals due to the presence of passersby who become members of a “non-audience” of sorts. Ute Wassermann has footage of herself doing something similar to great effect. You can view that here. I love the package this music comes in – a mess of monochromatic moss and pawprints on the front of this foldover card sleeve; a calligraphic tree design on the rear, all done by Eh? label head Bryan Day. Altogether then, a beautiful, beautiful thing. - Paul Khimasia Morgan

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