eli keszler / keith fullerton whitman - split (12inch vinyl lp)

---

Experimental percussion master Eli Keszler teams with Keith Fullerton Whitman, wielding what sounds like a mammoth Modular Synth setup, for a split LP on NNA. At first this may seem like an odd pairing, but both musicians draw from the same musical language, albeit at different angles. The general focus is on flurries of staccato chaos -- or controlled chaos -- a swarm of synth, drum, and "Micro-Controller Metal Plates" that is balanced by the calm, understated eeriness of Keszler's "Cymbal, Bass Drum, Clarinet" track. Whitman's side is more relentless; a 17-minute freak out that, through its sheer dexterity, recalls minimal shredders like Orthrelm or cosmic free-jazz. Really, it's just a fine display of the synthesizer's capabilities when pushed to the edge by a savvy handler. The standout for me, though, is the brief "Drums, Crotales, Installed Motors, Micro-Controller Metal Plates," which unifies a shrill metallic buzzing with precisely orchestrated drum clatter. That may sound like a contradiction, but the piece is deceptive like that. It drifts between the aforementioned staccato chaos and finely layered rhythms; just when you think it might lose control, Keszler dramatically pauses or plays a familiar rhythmic pattern, making clear the tension between composition and improvisation that pervades most of this record. – Keith Rankin, Experimedia

---

---
NNA is very excited to announce a split LP between Keith Fullerton Whitman and multi-instrumentalist composer Eli Keszler. This LP is a conversation in sound between two prominent artists, one working in the electronic realm (Whitman), and the other in the world of live acoustics (Keszler). In fact, Whitman's piece was inspired and created as a direct response to Keszler's signature frenzied percussion style. Both sides of the record are full of incredibly detailed nuance-driven music. These artists work with sound on the microscopic level, deliberately placing each individual molecule of sound in it's intended location. Whitman's piece "Occlusion" is automated "machine music" warfare, utilizing rhythm as a textural tool, while Keszler uses live percussion, bowed metal, and other acoustics to act as a humanized response to Whitman's machine-regulated assault, solidifying this record as a fantastic document of Human vs. Machine call and response. Original artwork by Eli Keszler.