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New Works For Electric Guitar And Miniature Amplifier

by Clarinette

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1.
Rising Birth 06:05
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2.
Missing Embankment 09:05
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3.
Anxiety's Child 08:28
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4.
Bees With Teeth 10:41
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5.
Expanding Rings 04:56
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6.
The Unearthly Earth 06:42
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about

All pieces were recorded over the period of a day and a half on an RKS Wave guitar into a closely mic'd Fender Mini 57 Twin Amp, a 1 watt, 2x 2 inch speaker 9v battery operated amplifier. The 1 watt amp's built in reverb was utilized on some recordings, also used were a Boss stereo DD-5 delay pedal and a Boss ME-50 pedal array. All pieces are single take improvisations using a tuning of E-A-D-G-C-D and likely have some significant stumbles hidden amongst the fuzz and distortion (these were all of the recordings that day and a half produced).

The flutter on some tracks is an artifact of the minimal recording process; the limitations of the microphone, the amplifier's size and extremely low wattage and the pedals, all of which have my ringing endorsement, this was what I was aiming for. This recording was intended to combine the intent of the improvisations with the greater likelihood of interference, unplanned distortion, sound limitations and/or random interference the recording technique brought with it.

The recording was in part inspired by Robert Quine and his used of a 7 watt battery operated Pignose amplifier in recording sessions. Pignose amplifiers were introduced in 1972 in a partnership headed by guitarist Terry Kath of the group Chicago. For recording purposes, Robert Quine used a Pignose amplifier set upon a stool when he recorded Richard Hell & The Voidoid's "Blank Generation" and other sessions. The Pignose Amp is a much higher quality amp than what I used, but (of course) Robert Quine is a much better guitarist than I am.

Ivan Julian told Tzvi Gluckin of Premier Guitar: “Pignoses didn’t have a tone control, so Quine would open and close the cabinet to get however much treble or bass he wanted”. Julian recalled that he and Quine were asked to use the studio's amplifiers, which at early sessions included Fender Twins and Peter Frampton's own Marshall amp, but Quine got the sound he wanted from the Pignose, a sound that would influence generations of guitarists, including myself.

Because I keep toying with the idea, but never seem to find it fitting when I finish recording an album, I will acknowledge that this project had the working title of Listen To The Rhythm Of The Gentle Bossa Nova: 6 Pieces For Guitar. I may use that title someday, but not this time.

This download may only be available for a limited time. I recorded it for LP, but wanted to share it now. If it later appears on LP, it will be made private temporarily so that those who purchase it, can still retrieve it.

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released August 4, 2023

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Clarinette Edinburgh, UK

Clarinette began making tapes for broadcast on KPFA's "Assassinatin' Rhythm" in the mid-80's, in time the project went dormant until some tapes were found in 1999. One of those tapes made it to Sonic Youth's Thurston Moore who asked to release an LP. Tapes from those early years along with newly recorded material were released in 2002 as Haze. Clarinette has been an active recording project since. ... more

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