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Trinity (3​-​track ep)

by Andrew Leslie Hooker & Nick Janczak

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1.
Father 03:29
2.
Son 03:38
3.
Ghost 03:50

about

Having worked with Nick Janczak for almost one year on the durational piece BlackEarth/RedEarth (released on Subcontinental Records in May 2020) for no-input mixer and trumpet, I was curious to find out what would happen if the methodology employed on the longer piece would be as effective when working within the severely restricted format of the miniature. The basic idea was to create three pieces of highly-concentrated no-input music of less than five minute duration, have Nick improvise a number of takes to each piece and then pass them back to me for editing/mixing/mastering etc.
For each no-input track, Nick sent me at least ten tracks of superbly played and exquisitely nuanced trumpet. Not being able to decide (as always) upon which single take to use, I then proceeded to electro-acoustically weave all of them into and around the central no-input tracks, creating a form of arcane sonic tapestry which as opposed to the slow-burning BlackEarth/RedEarth achieves the effect of being assailed by acute bursts of plastic energy.
Thank you Nick.

Reviews:

Trinity is an 11-minute EP that continues Hooker’s collaboration with Janczak. In a similar way to Black Earth / Red Earth, the composition process was convoluted, involving a back-and-forth creation-response-recreation approach between Janczak’s trumpet and Hooker’s no-input mixing board. Consequently, the three parts of Trinity are similarly immersed in a somewhat generalised behavioural environment in which polarised elements continually comingle. What i like so much about this comingling is the fact that, while the use of discrete materials – Hooker’s and Janczak’s – remains apparent throughout, there’s absolutely no sense in which they’re separate from each other: in other words, though polarised, they’re not poles apart.

In opening track ‘Father’ the combination of the two, after a squelchy 30-second intro, results in the trumpet setting up a melodic train of thought inhabiting the core of a busy, chattering noisescape. That’s basically it, and yet the three minutes of this are mesmerising, establishing a balance that results in a longer-term sense of behavioural suspension. It’s a little more complex in middle movement ‘Son’, abstracted into more generalised notions of pitch and noise, although from time to time the trumpet emerges through the skittering jumblefuck of disjecta electronica, forming a faint but tenuous connection to burbling low notes that form a convulsive kind of bassline. ‘Ghost’ concludes the triptych with a torrent-like stream of aquatic granules in which Janczak’s trumpet is a slower-moving, almost majestic, sound source, its omnipresent reverb seemingly causing its line to splinter off-shoots on either side. Hooker’s electronics are soft-edged here, lending the combined effect a surprisingly lyrical quality. It’s a beautifully gentle way to end.
Simon Cummings - 5against4

credits

released August 1, 2020

Andrew Leslie Hooker (no-input mixing board, electroacoustic treatments/composition, final mix & mastering).
Nick Janczak (trumpet & efx pedals).

Artwork: Detail of Crucifixion from Grunewald by Rico Lebrun (1961).

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about

Andrew Leslie Hooker Wales, UK

A composer of electroacoustic/no-input music based in north Wales.
He is currently undertaking a PhD in music composition
at the University of Huddersfield whilst contemporaneously working on
various sound, dance and extended cinema projects.
His work has been published by Entr'acte, Dinzu Artefacts, Subcontinental Records, The Silent Howl, Korobushka Records & Wormhole World.
... more

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