Colin Marston is an American musician and recording engineer residing in New York City. He runs Menegroth, The Thousand Caves Recording Studio in Queens, New York and has recorded, mixed and mastered artists including Mivos Quartet, Anthony Braxton, Lydia Lunch, Mary Halvorson, Jon Irabagon, Judith Berkson, Oneida/People of the North, Rhys Chatham, Elliott Sharp, Weasel Walter, Peter Evans, John Zorn, Brian Chase, Kid Millions, Mick Barr, M Lamar, Kelly Moran, No Neck Blues Band, Defeated Sanity, Yo La Tengo, Orthrelm, Revenge, Kayo Dot, Jarboe, Origin, Panopticon, Liturgy, Artificial Brain, Pyrrhon, Deiphago and Unearthly Trance as well as his own bands. Marston is a no-less prolific musician and musical innovator. His four most active bands include Behold the Arctopus, Dysrhythmia, Krallice and the 2008 reunion lineup of Gorguts. He is also involved in the more experimental projects Indricothere, Byla, Hathenter, Encenathrakh, Glyptoglossio, Containor, Catatonic Effigy, Mossenek and Overishins.
Eliane Gazzard is a New York based musical alchemist whose deeply expressionistic work searches the realms of spirituality through technology. Gazzard’s solo output explores dark ambience, drone and harsh noise. She played bass guitar in Calgary death metal band Akakor, is a regular collaborator with Colin Marston and has also worked with Mick Barr, Brandon Seabrook and others in the extreme world of noise and metal.
Parallels of Infinite Perspect is an epic experiment exploring ambience, harsh noise and ritualism through a process of feedback manipulation generated with effects pedals sent to amplifiers and a pitch-to-MIDI converter feeding a player piano (Disklavier). The piano was forced to interpret the feedback (which is fairly abstract in terms of pitch and rhythmic content), creating both deeply mediative and chaotically unpredictable results and comprises four variations on this process:
I. Marston performing feedback and feedback-controlled piano.
II. Marston performing feedback-controlled piano with Gazzard playing the same piano simultaneously.
III. Marston performing feedback and feedback-controlled prepared piano with Gazzard manipulating the preparations and sustain pedal.
IV. Marston performing feedback-controlled piano layered twice simultaneously with Gazzard and Marston sharing sustain pedal duties.
The album comprises four long form pieces running in at over 75 transfixing minutes during which no single moment is wasted. Parallels of Infinite Perspect takes the listener on an enthralling sonic journey through territory that is simultaneously unsettling and therapeutic.
The recording was created between October 16 and October 18, 2017 in the Concert Hall of EMPAC. Residency and production support provided by EMPAC / Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy, NY, and the Jaffe Fund for Experimental Media and Performing Arts.
released May 25, 2019
Recorded 10/16/17 - 10/18/17 at EMPAC, Troy, NY engineered by Jeffery Svatek and Colin Marston.
Mixed and mastered by Colin Marston early 2019 at Menegroth, the Thousand Caves, Queens, NY.
Artwork by Viktor Timofeev.
Thanks: Argeo Ascani, Ian Hamelin, Jeffery Svatek,
Zhenelle Fish, Aimee Albright, Viktor Timofeev, Álvaro and Mike at Iluso.
supported by 9 fans who also own “Parallels of Infinite Perspect”
Krallice at their finest--triumphant, labyrinthine guitar melodies, complicated bass lines that provide a dark harmonic counterpoint, and expert drumming guiding like a lantern through the darkness. If you've never been treated to their signature brand of USBM before now, this is a perfect place to start. bvck