Which Way To Leave?, by John Chantler

Which Way To Leave?

by John Chantler

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Just received a stash of these — can call it a 'warehouse find' if we'd like to pretend that they weren't just hiding in plain sight. anyways, here they are in Sweden, awaiting dispatch to your very own part of the world for the extremely reasonable price of 100 Swedish kronor (about 10 dollars/euros...) plus tax in EU...

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1.	Falling Forward 03:38
2.	Two and Four 02:18
3.	Clearing 01:04
4.	Fixation Pulse 06:22
5.	Lesser Demands 02:27
6.	All Visible Signs 06:31	info
7.	First December 10:28	info
8.	Second December 02:35
9.	Beginning Again 06:56

about

'Which way to leave?' is the latest record by Stockholm based musician John Chantler.

The self-reflexive sequencing that tracks the sub-harmonic series in the opening blast of 'Falling Forward'positions the record as Chantler's most explicitly melodic. These melodies however do not exist in a mono-dimensional vacuum, rather they co-exist in a meshed framework of dynamic timbral layers.

The record’s abrupt cuts, deft variations of density and unexpected diversions are happily explored with headlong dives into ravishing texture and extended stretches of surface stasis. The music draws on a domestic reimagining of the traditions of studio based electronic music/musique concrete and 20th century minimalism and delivers this with brash revitalized energy.

Born out of his relocation to Stockholm, following an extended period in London, 'Which way to leave?’ bares the marks of senses attuned to new environments and spaces.

Recorded for the most part at Chantler's home studio, additional material was recorded at elektronmusikstudion EMS. It also features guest appearances by Carina Thorén (For Barry Ray) and cellist Okkyung Lee.

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credits

released August 26, 2016

John Chantler — Electronics
Okkyung Lee — Cello
Carina Thorén — Electric Bass

Design: Traianos Pakioufakis
Mastering: Lawrence English

Recorded in Stockholm at EMS & 1703.

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John Chantler / 1703 Skivbolaget Stockholm, Sweden

"When we listen to music, we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening." — Jack Halberstam (in Moten & Harney 'The Undercommons') ... more

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