“A body needs at least
three points of support,
not in a straight line,
to fix its position,
so Roithamer had written.”
Thomas Bernhard

Haptic
Correction 7"
(E47/A67)

For Correction, their third published recording (and the second one to be
issued by Entr’acte; see also E37), Haptic has assembled two pieces that
incorporate excerpts from live performances and seamlessly integrate them
with material recorded by the trio over the past two years. These disparate
elements are distilled to an atmosphere of tension and restraint in ‘sum’;
in the companion piece, ‘ybo’, the same careful deliberation is deployed to
slowly envelop the listener in a composition that is subtly evolving, dense,
and hypnotic.

See also
Haptic

Edition of 200 copies (out of print)
Co-published with absurd




Left to right: Hess, Mills, Sonderberg


Reviews

Steven Hess, Joseph Mills and Adam Sonderberg show two ways of creating
awesome music which is both sharp-minded and unclassifiable.
This 7-inch comprises ‘ybo’ — an impressive resonant quake that sounds
like a meeting of Organum and Mark Wastell’s tam tam in Vibra at Klaus
(not John…) Wiese’s house — and ‘sum’, which starts with percussive clatter, then introduces deep hums and subsonic adjacencies to finally end in an
ebullient amalgam of field recordings where the voices of a crowd become progressively engulfed in a frequency subtraction until they figure as the
sonic portrait of a turbulent underwater population.

Massimo Ricci at Touching Extremes

A 7" 45rpm release containing two brief but exceedingly dense works by
this trio (Steven Hess, Joseph Mills and Adam Sonderberg), post-composed
by combining excerpts from live performance with existing music.
The brevity is more than a little perverse as both pieces positively beg for
further listening and/or development. ‘sum’ has a percussive feel, though
the whole is encased in a slightly blurry envelope, bangs and clatter set
against soft, high drones at the start. That direction is abruptly dropped in
favour of the reverse: low, hugely throbbing pulses with higher-pitched
brushwork. This, in turn, falls through a trapdoor, replaced for several
fleeting seconds by a crowd of people as heard from behind a wall. All in
about four minutes; wonderful stuff. ‘ybo’ is a bit more obscure in that as
near as I can determine it consists solely of a steady series of gong sounds,
the kind created with heavily padded mallets (or hands). In this case,
you almost inevitably read the music as an introduction of sorts. Indeed,
it sounds like more than one opening invocation heard on old Art Ensemble
records. But it too passes through in just a few minutes. Intriguing and
frustrating in equal amounts.

Brian Olewnick at Bagatellen