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LTJ-40 Robert Horton: Washed Out Headspace


Robert Horton: Washed Out Headspace Robert Horton: Washed Out Headspace



1. window to the sky (8:02)
2. misty leader (math at the horseraces) (9:37)
3. washed out headspace (8:08)
4. in green underbrush and cover (3:30)
5. 8 seconds of fahey tuning (6:40)
6. a grasshopper's startled look as the car pulls up (3:44)
7. drinking beer around the fire (2:09)
8. pressed rat and warthog (3:03)
9. sight seeing tour to ruins of the church of anthrax (8:56)
10. found poetry (3:08)

Released 16.8.2005, "free jazz haunted drone", edition of 100 copies, features an insert.

"I got off the sight seeing bus near the ruins to the church of anthrax. I thought I heard a pounding piano and a repeating organ riff but it was only the wind. I listened to it blow for a while. Hannu asked me for some kind of description of the music on this cdr. Shit, I don't know. I woke up one night recently and scribbled "free jazz haunted drone" on the cover of the latest Wire. When I woke that morning, it seemed like a good description. The collection got its name from Brad Rose, who seems to be quite poetic. I also took him literally and threw some broken binaural microphones into the bathtub to record some feedback from underwater, thus washed out headspace. Misty Leader was the name of a horse running at the track in Tacoma, Washington. Wes McIntosh, who is into the horses, found me the name in the paper. He's my nephew and is 16 years old and open minded enough to join me with his sax in the backyard for a drone-a drone with his weird uncle playing guitar with a vibrator with a bobby pin duck-taped to it."

robert horton: boot, guitar, dulcimer organ, dulcimer, casio fz-1, casio mt-68, trumpet, sine wave generator, feedback circuit, radio, cassettes, mini disc, varispeed cassette recorder, computer, el flosser, turntable-boot-hurdy-gurdy, reel to reel tape bow, vitaminder, vibrator, percussion, drums, instratuner, wooden trumpet, contact mics, rocks, zither, shenai, rubber bands
wes mcintosh: tenor sax on track 2
boot is a 4 string homemade
track 3 named by brad rose

thanks to grandfather tree, janet carter, bob and wes mcintosh, kenneth lea, brad rose, campbell kneale, michael shannon

Hoal Records

"beautifully luxuriant drones as vibrant and joyous as a sunrise - Horton is joined by saxophonist Wes McIntosh on this release" Boa Melody Bar

"Latest from this post-American Primitive stylist crosses hallucinatory vistas of acoustic guitar with a collection of electronics junk, brass, keyboards and dulcimer to create the kind of spliced aural environments that illuminated much of John Fahey's more overtly experimental projects, crossed with some Charalambides/Migrantes-style canyon-scale levitation." Volcanic Tongue

"Mainio ja monipuolinen yhdistelmä hienovaraisempaa dronahtelua ja metsäfolkimpaa kolahtelua; avausraita "Window to The Sky" on jo melkein rock. "A Grasshopper's Startled Look as The Car Pulls up" on nerokas nimi ja "Drinking Beer around The Fire" on kappaleena juuri sen kuuloinen, mitä voi odottaakin. Levy on ehkä hieman ylipitkä, mutta ei sitä ennenkään ole määrästä valitettu." Jaakob Karhu

"If there has been anyone as prolific as Robert Horton in 2005, please raise your hand. This has been a breakout year for Horton. He's released a half-dozen solo releases and a number of other duo, trio, & quartet projects. He's worked with Charalambides leading man, Tom Carter, on multiple projects and continues to receive praise from all across the globe. Yes, 2005 has been a good year for Robert Horton.

"Washed Out Headspace" is his second release to come out of Finland (he also has recently released "First Light" on the Outa imprint). 267 Lattajjaa is consistently great, but "Washed Out Headspace" rates as one of their best. At just under one hour, this album covers more ground than a trek around the world. Horton's talent and influences know no bounds. While most of this CDR is definitely soaked in a bath of droned-out bliss, the ancillary sounds are highly varied and keep this album in constant motion.

A minor disclaimer here: the album title came from the description of Horton's first album ("Angel Humming Through Wire"), which I released. I believe that what I said in that description fits this album as well, and will repeat it. "Years in the making, 'Angel Humming Through Wire" is a glorious look at this Boston (now on the West Coast) native's washed out headspace." This album is the exact same thing. It is a journey through the mind of a musical genius whose inspiration has no limits. It never ends. He is like a machine in that he can churn out song after song and they seemingly never lack in quality.

The dense, insular drone of "Misty Leader (Math at the Horseraces)" glows like a shrine to the sun. Wes McIntosh's tenor sax playing provides a perfect, solid foundation. Horton's metallic rumblings and repetitive guitar goading lead to a cathartic listening experience. The song follows on a singular path through its 9:41, but it always feels as though it's advancing toward some greater, universal truth. It's got heavy spiritual undercurrents flowing through it. By the time it reaches its feverpitch, you are covered in golden leaves and drenched in sweat. It's the forest's way of tarring and feathering you, but the end result is magical. This is a great, great track and leads perfectly into the watery depths of the title track.

Some of the real treasures on this album, though, lie in the shorter pieces. "A Grasshopper's Startled Look as the Car Pulls Up" and "In Green Underbrush and Cover" are two fine examples. The former track is a stunted affair that is a constant aural struggle. Minimal percussion and guitar squirts give this a tribal, claustrophobic feel. The beauty is in the subtle scratches and whirs. It's impossible to discern their source, but their effect is massive. "In Green Underbrush and Cover," Horton offers up an Eastern flavored dish that chimes and spins toward the Hindu heavens. This piece would not be out of place on one of the many Sublime Frequencies releases - it's that good and that authentic. I can imagine hearing this on the streets of Calcutta. Also of note, as far as short pieces, is the jangly, acoustic guitar-based "Drinking Beer Around the Fire." It's delightful.

"Washed Out Headspace" is a brilliant adventure that should not be missed. It's hard to say where to start when getting into Horton's ever-growing catalog, but this is as good a place as any. Really, it's hard to go wrong with an artist like this. 8/10"
Brad Rose, Foxy Digitalis

"free tonal jazz meld
elastic cosmic implosion
psychic gamelan"
Lee Jackson, Womblife

"Washed Out Headspace on 267 Lattajjaa is a dense, confounding slab of molasses drone. With Wes McIntosh on sax, the two cast heavy lids, but underneath are millions of worker ants feeding those machines." Eric, Just For A Day

"Boston-fyr nå bosatt på vestkysten er over oss med det ypperste av det ypperste. Droner, men av varierende type og intensitet, multiinstrumentalist, så instrumentene er uendelige, og har ser ut til å beherske alt til perfeksjon. Hvorfor vi først nå har oppdaga ham er en gåte, før tilfellet ville at han samarbeidet med Tom Carter fra Charalambides. Dette er en musikalsk reise hvor inspirasjonene ser ut til å ha vært endeløse. Og hvor bevegelsen framover er konstant. Dette er en briljant opplevelse ingen må gå glipp av, og i føle de som vet er dette en av hans beste, og plassen å starte for oss nybegynnere. Se for deg de musikalske rom hvor John Fahey skapte sine mer eksperimentelle prosjekter og bland inn noe ev det mest opphøyde fra en kombinasjon av Charalambides og Migrantes. Stønner!" Popopdrops

267 lattajjaa