K. Leimer - A Figure Of Loss - COMPACT DISCS [CD]

2018 . Threnody by K. Leimer is a music of disorientation, error and loss. Free of any particular sense of continuity or structure, Threnody dwells in an absent-minded and forgetful state, inhabiting an aftermath of events too disorienting to be completely comprehended. Highly atmospheric, the music draws from influences as diverse as Arve Henriksen, David Sylvian, Taylor Deupree and Biosphere. Shattered phrases emerge among shrouded details in a state of sustained incompleteness. In a departure for Leimer, this music is highly improvised, mostly studio-generated in real-time. InchI approached the work by repeatedly abandoning it and, at some later time, after pursuing some other task, after days or weeks of new outrages, wandered back and tried to once more pick up the threads.Inch Threnody is music tuned to a fractured time. K. Leimer founded Palace of Lights in 1979. Leimer's work has also been issued by Autumn, First Terrace, Les Giants, Origin Peoples and RVNG and his cassette work is included in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s-his current catalog includes eighteen solo albums plus collaborative albums with Savant and Marc Barreca. His work is included in the collection of The British Library.

Suspended, broken, distorted, dismantled and reassembled on wavering, shifting timelines, the techniques used in Proximate Forms act as an audio exemplar of Merzbau and Decalcomania without a preconceived object. The music seeps through intermittent gaps, hinting at other voices, other structures, other phrases that appear and mutate as they become a part of the whole-or just fall apart. Instruments and tracks are subsumed, manipulated, re-sampled and remade in unbalanced and deep atmospheres in proximities near / far; placements up / down; tones pitched / atonal; paces slow / fast; changes familiar / unpredictable; events percussive / droning; voices dominant / receding-yet still assembling coherent yet transitory states.In InchCeaseless,Inch voices never truly align, but rattle and pulse against each other, only finding congruence amid uneven measures. InchRiftInch dismantles a single guitar stroke and compounds it's timbres into a complete ensemble of frozen and repeating and random pulses. InchBirdsongInch becomes completely weightless, stammering through a choking haze of decaying trills. At the end, InchChimeraInch catalogs a condensed representation of the entire set.Across the ten tracks of Proximate Forms, K. Leimer guides and edits and processes and restates his work to invent a music which has never existed in any single genre. And he arrives again and again at a reliance on and an embrace of the absolute primacy of sound. K. Leimer's Forms project is comprised of three collections emphasizing the free association of voices, pitches, effects, structure, and processing Proximate, Resting and Muted Forms are scheduled to be issued throughout 2025.

Write. Record. Break. Recategorize. Reassemble. In K. Leimer's most recent work, he returns to his long-running interest in developing relationships in sound that are not composed, not planned, not under conscious influence or control. Phrases and patterns emerge from dense layering and editing; melodic elements are split apart, re-voiced and reset in successive contexts. A music of distressed fragments, Spall originates from acoustic, electric, synthesized, manipulated, torn, and piece-work audio that combines into complex, layered, and flowing pieces of unexpected turns and contrasts. Modified, melted, and shaped into shifting sonic environments that fuse the clear signal with the distorted, the recognizable with ambiguous, Spall is music mined from an abandoned quarry.