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no instrument machine, air

by E Millar

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light metal 03:35
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NIMA 05:20

about

“The music of Elizabeth Millar raises for me the same kind of doubt, or intuition, that sometimes comes to us when we turn on a light in an empty room: that the calm and silent objects found there are actually engaged in all kinds of inexplicable and obstinate activities, imperceptible to our hurried glance.” - Anne-F Jacques

For her debut solo release, Elizabeth Millar invites us into a sound-world of air and metal. Known for her work with amplified clarinet as part of the Montreal-based duo Sound of the Mountain, her solo project extends the timbral and textural scope of these sounds with machine hums, metallic surfaces and low frequency air noise, generated by recycled electronic components. Irregular small-scale metallic percussion punctuates the pitched breath of the amplified clarinet and the rumbling machine-generated air, in five concentrated pieces.

The album title, no instrument machine, air, references the 2017 recording No-Instrument Air Noise by Japanese veteran improviser and ‘self-made sound instrument’ builder Junji Hirose, in which he uses air compressors and microphones to generate nuanced gales of white noise. The title is also a nod to the nimb (no-input mixing board), pioneered by Toshimaru Nakamura, and with whom Millar will release a recording on Mystery & Wonder Records in October of this year, along with Tetuzi Akiyama and Sound of the Mountain counterpart Craig Pedersen.

credits

released May 15, 2019

E Millar is Elizabeth Millar’s solo project :
breath, machine hums, metal surfaces, air
short sound pieces for fans, propellers and clarinet

Recorded by Elizabeth in Montreal 2018
Mixed by Craig Pedersen
Mastered by Harris Newman at Greymarket Mastering
All music by Elizabeth Millar

emillar.net

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all rights reserved

tags

about

Mystery & Wonder Montreal, Québec

Mystery & Wonder is an independent label started in 2017,

We are interested in work that takes care with sound and timbre, structure and form, is close, direct and in high-definition. But most of all, we are interested in work that defies our understanding of all this and moves us in ways we don’t expect, work that stands on its own. ... more

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