“CAMELOT TOWERS” (KSE #353, cdr album)
13 tracks, approx. 41 minutes—-edition of 48 copies
a co-release with Middle James Co. (MJC #443)
on this album, Fossils were Daniel Farr and David Payne
word from Bill Shute, Kendra Steiner Editions:For the first of SEVEN Fall-Winter 2016 albums, KSE is proud to present our longtime friends, the only band that matters (to us), Hamilton, Ontario’s FOSSILS, with a newly recorded (Spring 2016) collection of sound sculptures that investigate the duo’s painterly interest in space and texture. While the sound varies from track to track, many of the pieces are piano-based, with sparse but clotted bursts and squiggles that suggest a Twombly painting in sound, mixing with what sounds like a slack-stringed guitar, played to bring out the metal of the strings. There’s also electronics on some tracks, which adds a nice electric-charcoal shading to those pieces. The telepathic interplay between Farr and Payne is superb on this album—-those who liked our duo album of last Fall by Tom Crean and Mike Barrett will also like this, though it’s very different.
As I write this on a hot September South Texas afternoon with a shadowy overcast sky and thunder rumbling somewhere in a neighboring town, and the wind wants to pick up but it can’t overcome the sense of dread and stillness, and no one wants to get up and do something, knowing it will be rained out, this FOSSILS music is the perfect soundtrack. Our environment sounds like a backward-run tape!
If you are new to FOSSILS, these gentlemen (with various other co-conspirators over the years) have been an important force in the DIY free-improv/noise community for many many years. When KSE branched into music, we knew FOSSILS had to be on our label. Their whole “junk sculpture” aesthetic and lo-fi approach has always seemed to me the perfect extension of the punk aesthetic. Really, is there anything more punk than, say, the Nihilist Spasm Band or the L.A. Free Music Society? I think not….
I spend a lot of time listening to FOSSILS music, and it’s always a sonic head cleaner, with (as stated above) a painterly attention to texture and shading and space. It is pure, it is always fresh, and it is four-dimensional sound sculpture of the highest order.
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