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Patrick Gallagher // e.78 LP

Patrick Gallagher // e.78 LP

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In the pastPhiladelphia-based experimental musician Patrick Gallagher, who has released labels such as Tone Log and Hot Releases, released a limited edition of 2023 copies in June 6 from the same country's experimental/dance label enmossed..

Includes 2 long-form computer collage drones. Comes with DL code.It is out of print.

Previous workI also recommend

Below is a commentary by Nick Klein, president of Psychic Liberation.

"The first time I saw Patrick Gallagher perform was in a North Carolina afternoon in 2015 at a venue named 'The Nightlight.' His dual improvisational concrete style hung in an interesting juxtaposition with the daylight shining down on him from the skylight above. Revisiting the use of a laptop computer as part of a live performance, honing frequencies and using them to compose in a masterful way, moments of high and low tones are a physically enveloping experience. , which transformed my ear and stomach's accustomed response to hertz delivered in relation to the lack of standard auditory intelligibility commonly encountered while touring America's DIY networks around that time. let me

To understand the importance of frequency allocation in American personal amplifier systems, expect a kind of tone spectrum, especially within the framework of America's "underground" and "experimental" infrastructure. You need to understand a set of terms related toTotality of the frequency spectrum is not always fully realized due to many mitigating situations.The legal issues of zoning, budgets, basic levels of access to technical information, and how this is achieved all plateau within this social framework for sound in America. become.In America, loosely defined "counterculture" networks generally lack public funding, and access to public space, as defined by the concept of municipality, is dwindling. I am following.In such situations, artists often have to negotiate how to present their work on a case-by-case basis, and how those negotiations reflect the inevitability of their work. The burden of management capacity will be placed on each artist. In the case of Patrick Gallagher, his work as an artist has always been about how to unearth the space to express his practice effectively and fully, even when it puts him and his peers at a disadvantage. I've figured it out.

And Patrick Gallagher has spent quite some time accumulating a vast audio tool belt, looking back at the recent history of experimental computer music and finding ways to engage in dialogue.As a strict listener,Gallagher takes a relatively backward look at modern sound production and succinctly presents them in Enmossed's latest release, "e.78."Gallagher demonstrates his attention to detail and dedication to the art of synthesis across the two sides of the LP.His abstraction is purposeful, his atmosphere is rigorous, his chaos is unhindered.

Gallagher now lives in the Northeast United States, where many of his peers are thoughtfully exploring what defines the composition of a computer-generated human being.For some, it is simply a convenient and practical tool to work through, and for others, it is a political resource capable of producing grotesque sounds that mirror a grotesque society.The last time I saw Gallagher perform was in a classroom at the Universität Der Kunst Sound Studies & Sonic Arts program in Berlin, between a four speaker and one subwoofer (“4”) array. when I invited him to perform on a stage sculpture made byIt was here that he played live from the e.1 LP. A professor ten years older than Gallagher and I drank white wine.After seeing Gallagher's set, he said, "This is so funny, when I was in my twenties in Japan, performances like this were very noticeable."

I,I watched Gallagher stretch his legs and let the speaker's technical prowess meet him and his work halfway through.As the night wore on, everyone drank alcohol and performed karaoke.Gallagher sang Brooks & Dunne's "Neon Moon," a ravishing lament of existential heartache and loneliness.The duality of his computer-generated abstraction and the unabashed geographic influence of class-based American popular country music came together.This evening,Gallagher once again imprinted unforgettable sonic memories in my listener's mind, cementing his place as an indescribable dunce in the evolution of American experimental sound.

I hope that the content of e.78 will give other listeners the same joy and excitement that I have. "

Labels and other works Click here for more information. ///Click here to see more Enmossed releases available at Tobira.

--------------------------------

12" black vinyl. Edition of 100. Hemp paper jackets silkscreened by Mark Rice (Goatmother Industrial) using black + silver ink

++

Text by Nick Klein
May 20, 2023:

"The first time I saw Patrick Gallagher perform was on an afternoon in North Carolina in 2015, at a venue named “The Nightlight”. I stood outside of a circle formation as I watched him play a prepared guitar alongside some smaller synth boxes. improvisational concréte style hung with an interesting juxtaposition of the daylight that shone down on him from the skylight above. Later in 2017 I had watched Patrick play again, utilizing a laptop computer as part of his live performance, honing in on frequencies and employing them in his compositions in a masterful manner. Moments of high and low tones became a physically enveloping experience, transforming my ear and stomach's accustomed response to the hertz provided in relation to the generally standard lack of aural clarity one could encounter when touring through a DIY network in the United States of America around that time.

To understand the importance of frequency allocation in an American Personal Amplification system, particularly within the context of the American “underground” or “experimental” infrastructural framework, you have to come to a set of terms around the expectation of a kind of tonal spectrum. Zoning legalities, budgets, and a base level of access to technical information and how it is implemented all come to a head within the frameworks of these social operations around sound in America. States typically do not have access to public funding and certainly an ever diminishing access to public space as it is defined as a municipal concept. In this circumstance an artist is often tasked with needing to negotiate how the work they make is presented on a case by case basis, and so the burden of operational capacity sits with each artist as to how that negotiation will translate the imperatives of their work. In the case of Patrick Gallagher, his work as an artist has always found ways to excavate a space for his practice to articulate itself effectively and wholly against the variable odds stacked against him and his peers.

Patrick Gallagher in turn has amassed a hefty audio tool belt over a considerable period of time, finding ways to reflect on and participate within a dialogue on the recent histories of experimental computer music. As a rigorous listener, Gallagher has observed a multitude of sonic vocabularies in a relatively rearview acknowledgment of contemporary sound production and distilled them succinctly in his latest offering for Enmossed, titled “e.78”. Gallagher showcases his attention to detail and devotion to the craft of synthesis over two side long sections on the LP. is clear that Gallagher is aware of how to situate his listening and furthering of the conversation around computer music in a post Peter Rehberg world by balancing sonic tropes from a golden era output of labels like Editions Mego, Entr'acte, Presto!?, or IDEAL. Tactfully, he showcases his ability to parcel distinct moments of clarity and sonic obfuscation. His abstractions are intentional, his ambience exacting, and his chaos undeterred.

Currently, Gallagher lives in the north-eastern part of the United States where a number of his peers thoughtfully probe through what defines the makeup of someone generating audio with a computer. , while for others it is a politically charged resource that can churn out the grotesque sounds that mirror a grotesque society. When I last saw Gallagher perform, it was when I had invited him to perform on a stage sculpture I had made situated between a four speaker and single subwoofer (“4.1”) array in a classroom at the Universität Der Kunst Sound Studies and Sonic Arts program in Berlin. Here he did a live rendition of the material that accompanies this “e.78” LP. A professor of mine a decade or so beyond Gallagher and I sipped a white wine watching Gallagher perform a set, stating “This is so interesting, this type of performance was very prominent when I was in my twenties in Japan”.

I watched Patrick stretch his legs and allow the technical capabilities of the speakers to meet him and his work at the halfway point, eager to accommodate whichever direction his palette wanted to pivot, notably for the first time outside of the United States. went on, everyone drank and performed karaoke. Gallagher sang Brooks & Dunn's “Neon Moon” and charmingly crooned the songs laments of existential heartache and loneliness. The duality of his computer generated abstractions and the unabashed geographical influence of class rooted American popular country music floated This was the evening that Patrick Gallagher, once again, made an indelible sonic memory for me as a listener, and in my view solidified his position as ineffable underdog in the progression of American experimental sound.

I hope the contents of “e.78” provide other listeners with as much joy and captivation as they have for me, and I hope that this begins their own process of indexing moments of experience with Gallagher's triumphant output."

Artist: Patrick Gallagher

Label: Enmossed

In the pastPhiladelphia-based experimental musician Patrick Gallagher, who has released labels such as Tone Log and Hot Releases, released a limited edition of 2023 copies in June 6 from the same country's experimental/dance label enmossed..

Includes 2 long-form computer collage drones. Comes with DL code.It is out of print.

Previous workI also recommend

Below is a commentary by Nick Klein, president of Psychic Liberation.

"The first time I saw Patrick Gallagher perform was in a North Carolina afternoon in 2015 at a venue named 'The Nightlight.' His dual improvisational concrete style hung in an interesting juxtaposition with the daylight shining down on him from the skylight above. Revisiting the use of a laptop computer as part of a live performance, honing frequencies and using them to compose in a masterful way, moments of high and low tones are a physically enveloping experience. , which transformed my ear and stomach's accustomed response to hertz delivered in relation to the lack of standard auditory intelligibility commonly encountered while touring America's DIY networks around that time. let me

To understand the importance of frequency allocation in American personal amplifier systems, expect a kind of tone spectrum, especially within the framework of America's "underground" and "experimental" infrastructure. You need to understand a set of terms related toTotality of the frequency spectrum is not always fully realized due to many mitigating situations.The legal issues of zoning, budgets, basic levels of access to technical information, and how this is achieved all plateau within this social framework for sound in America. become.In America, loosely defined "counterculture" networks generally lack public funding, and access to public space, as defined by the concept of municipality, is dwindling. I am following.In such situations, artists often have to negotiate how to present their work on a case-by-case basis, and how those negotiations reflect the inevitability of their work. The burden of management capacity will be placed on each artist. In the case of Patrick Gallagher, his work as an artist has always been about how to unearth the space to express his practice effectively and fully, even when it puts him and his peers at a disadvantage. I've figured it out.

And Patrick Gallagher has spent quite some time accumulating a vast audio tool belt, looking back at the recent history of experimental computer music and finding ways to engage in dialogue.As a strict listener,Gallagher takes a relatively backward look at modern sound production and succinctly presents them in Enmossed's latest release, "e.78."Gallagher demonstrates his attention to detail and dedication to the art of synthesis across the two sides of the LP.His abstraction is purposeful, his atmosphere is rigorous, his chaos is unhindered.

Gallagher now lives in the Northeast United States, where many of his peers are thoughtfully exploring what defines the composition of a computer-generated human being.For some, it is simply a convenient and practical tool to work through, and for others, it is a political resource capable of producing grotesque sounds that mirror a grotesque society.The last time I saw Gallagher perform was in a classroom at the Universität Der Kunst Sound Studies & Sonic Arts program in Berlin, between a four speaker and one subwoofer (“4”) array. when I invited him to perform on a stage sculpture made byIt was here that he played live from the e.1 LP. A professor ten years older than Gallagher and I drank white wine.After seeing Gallagher's set, he said, "This is so funny, when I was in my twenties in Japan, performances like this were very noticeable."

I,I watched Gallagher stretch his legs and let the speaker's technical prowess meet him and his work halfway through.As the night wore on, everyone drank alcohol and performed karaoke.Gallagher sang Brooks & Dunne's "Neon Moon," a ravishing lament of existential heartache and loneliness.The duality of his computer-generated abstraction and the unabashed geographic influence of class-based American popular country music came together.This evening,Gallagher once again imprinted unforgettable sonic memories in my listener's mind, cementing his place as an indescribable dunce in the evolution of American experimental sound.

I hope that the content of e.78 will give other listeners the same joy and excitement that I have. "

Labels and other works Click here for more information. ///Click here to see more Enmossed releases available at Tobira.

--------------------------------

12" black vinyl. Edition of 100. Hemp paper jackets silkscreened by Mark Rice (Goatmother Industrial) using black + silver ink

++

Text by Nick Klein
May 20, 2023:

"The first time I saw Patrick Gallagher perform was on an afternoon in North Carolina in 2015, at a venue named “The Nightlight”. I stood outside of a circle formation as I watched him play a prepared guitar alongside some smaller synth boxes. improvisational concréte style hung with an interesting juxtaposition of the daylight that shone down on him from the skylight above. Later in 2017 I had watched Patrick play again, utilizing a laptop computer as part of his live performance, honing in on frequencies and employing them in his compositions in a masterful manner. Moments of high and low tones became a physically enveloping experience, transforming my ear and stomach's accustomed response to the hertz provided in relation to the generally standard lack of aural clarity one could encounter when touring through a DIY network in the United States of America around that time.

To understand the importance of frequency allocation in an American Personal Amplification system, particularly within the context of the American “underground” or “experimental” infrastructural framework, you have to come to a set of terms around the expectation of a kind of tonal spectrum. Zoning legalities, budgets, and a base level of access to technical information and how it is implemented all come to a head within the frameworks of these social operations around sound in America. States typically do not have access to public funding and certainly an ever diminishing access to public space as it is defined as a municipal concept. In this circumstance an artist is often tasked with needing to negotiate how the work they make is presented on a case by case basis, and so the burden of operational capacity sits with each artist as to how that negotiation will translate the imperatives of their work. In the case of Patrick Gallagher, his work as an artist has always found ways to excavate a space for his practice to articulate itself effectively and wholly against the variable odds stacked against him and his peers.

Patrick Gallagher in turn has amassed a hefty audio tool belt over a considerable period of time, finding ways to reflect on and participate within a dialogue on the recent histories of experimental computer music. As a rigorous listener, Gallagher has observed a multitude of sonic vocabularies in a relatively rearview acknowledgment of contemporary sound production and distilled them succinctly in his latest offering for Enmossed, titled “e.78”. Gallagher showcases his attention to detail and devotion to the craft of synthesis over two side long sections on the LP. is clear that Gallagher is aware of how to situate his listening and furthering of the conversation around computer music in a post Peter Rehberg world by balancing sonic tropes from a golden era output of labels like Editions Mego, Entr'acte, Presto!?, or IDEAL. Tactfully, he showcases his ability to parcel distinct moments of clarity and sonic obfuscation. His abstractions are intentional, his ambience exacting, and his chaos undeterred.

Currently, Gallagher lives in the north-eastern part of the United States where a number of his peers thoughtfully probe through what defines the makeup of someone generating audio with a computer. , while for others it is a politically charged resource that can churn out the grotesque sounds that mirror a grotesque society. When I last saw Gallagher perform, it was when I had invited him to perform on a stage sculpture I had made situated between a four speaker and single subwoofer (“4.1”) array in a classroom at the Universität Der Kunst Sound Studies and Sonic Arts program in Berlin. Here he did a live rendition of the material that accompanies this “e.78” LP. A professor of mine a decade or so beyond Gallagher and I sipped a white wine watching Gallagher perform a set, stating “This is so interesting, this type of performance was very prominent when I was in my twenties in Japan”.

I watched Patrick stretch his legs and allow the technical capabilities of the speakers to meet him and his work at the halfway point, eager to accommodate whichever direction his palette wanted to pivot, notably for the first time outside of the United States. went on, everyone drank and performed karaoke. Gallagher sang Brooks & Dunn's “Neon Moon” and charmingly crooned the songs laments of existential heartache and loneliness. The duality of his computer generated abstractions and the unabashed geographical influence of class rooted American popular country music floated This was the evening that Patrick Gallagher, once again, made an indelible sonic memory for me as a listener, and in my view solidified his position as ineffable underdog in the progression of American experimental sound.

I hope the contents of “e.78” provide other listeners with as much joy and captivation as they have for me, and I hope that this begins their own process of indexing moments of experience with Gallagher's triumphant output."

Artist: Patrick Gallagher

Label: Enmossed