Confluence Patterns
by Byron Westbrook
Steve Ashby
Adam Aronson
Anthony Cooley (DFFDL)
H E A D S P A C E
geneeves
plattenmann
Boris Klompus
leenoble
Tommy
Thomas Nugent
Andrew
navro
hirte_7
Pieter Geenen
David Hartunian
Kevin Damon
Public Matter
NChambers
rootless
Soothing Sounds of Insanity
MaxJR
Frederick BAAS
semele
Joseph Engstrom
Rob Schrader
Primož Bončina
Editions Cage
ouca
Patrick Murphy
Rich Hughes
Kostis Kilymis
Chris SSG
kristian_heggernes
Chris Guilfoyle
Raxa
Red Dot
Joseph Godek
rhos
Ryan Hall
nickfrancispotter
Sasha Frere-Jones
peuh
Richard Loftus
Ian
a_rwalker
Matt Barlow
Ryan Romero
Michael N
Rod Ganiard
SMPL PRTL_
Thelxiepeia
Derek Matthew Duke
Hootie
parker yeats
C://FNFN
Maxime
Da Bassbreaker
noone
Omar Akrouche
Rob Spampinato
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
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Full Digital Discography
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1. |
A Continuous Slip
03:32
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Fractal Shift II
04:57
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4. |
Vanishing Action
07:44
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5. |
Glorious Mess
04:54
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about
Cassette Edition
Hand-numbered cassette limited edition of 120 copies on pro-dubbed chrome plus tape. Packaged in a cardboard box of 100% recycled stock and download coupon.
www.umor-rex.org
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Byron Westbrook is an artist and musician based in Brooklyn, NY. His work focuses on dynamics of perception using sound, lighting and video to interact with architecture and landscape, often pursuing routes that involve social engagement. Confluence Patterns is an eclectic collection of recordings, containing both the sharpest and most pastoral material Westbrook has released. The pieces range from the textured drones of "Vanishing Action" to the Tony-Conrad-plays-Black-Sabbath riffing of "Perception Depth" to the Maggie Payne-influenced "Fractal Shift II”. Westbrook is interested in how sharp contrast can shape the perception of a sound. Working with texture and frequency in relation to listening duration, he considers sonic analogies as to how an afterimage affects the experience of sight. For example, the pillowy "Drifting Well" has a particular softness after experiencing the fatiguing frequencies and activity of "A Continuous Slip"; and the density and detail of "Glorious Mess" plays in a particular way after the static textures of "Vanishing Action". Westbrook considers these sequential contrasts as integral elements of the work and has performed this sequence as a live set numerous times in recent years. Confluence Patterns is his third music release –after previous works in Root Strata and Hands In The Dark– and his first one in Umor Rex.
Hand-numbered cassette limited edition of 120 copies on pro-dubbed chrome plus tape. Packaged in a cardboard box of 100% recycled stock and download coupon.
www.umor-rex.org
—
Byron Westbrook is an artist and musician based in Brooklyn, NY. His work focuses on dynamics of perception using sound, lighting and video to interact with architecture and landscape, often pursuing routes that involve social engagement. Confluence Patterns is an eclectic collection of recordings, containing both the sharpest and most pastoral material Westbrook has released. The pieces range from the textured drones of "Vanishing Action" to the Tony-Conrad-plays-Black-Sabbath riffing of "Perception Depth" to the Maggie Payne-influenced "Fractal Shift II”. Westbrook is interested in how sharp contrast can shape the perception of a sound. Working with texture and frequency in relation to listening duration, he considers sonic analogies as to how an afterimage affects the experience of sight. For example, the pillowy "Drifting Well" has a particular softness after experiencing the fatiguing frequencies and activity of "A Continuous Slip"; and the density and detail of "Glorious Mess" plays in a particular way after the static textures of "Vanishing Action". Westbrook considers these sequential contrasts as integral elements of the work and has performed this sequence as a live set numerous times in recent years. Confluence Patterns is his third music release –after previous works in Root Strata and Hands In The Dark– and his first one in Umor Rex.
credits
released March 16, 2018
Byron Westbrook: electronics, tape and software manipulation. Recorded and mixed 2014-2017 in Brooklyn, NY + Los Angeles, CA.
Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin
Design & photo by Daniel Castrejon
Byron Westbrook: electronics, tape and software manipulation. Recorded and mixed 2014-2017 in Brooklyn, NY + Los Angeles, CA.
Mastered by Felix-Florian Tödtloff at Ætherweight in Berlin
Design & photo by Daniel Castrejon
license
all rights reserved
tags
discography
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Jun 2023 -
Apr 2023 -
Nov 2022 -
Sep 2022
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This record is a dense, lush jungle of endlessly engrossing soundscapes that rewards deep listening just as richly as it excels as background mood music. Heavy, but not necessarily dark, Distortion Hue has appropriately soundtracked many moments of my life over the last year, providing a foil to the events of our time while offering a safe sonic buffer to contemplate them. Aside from being emotionally explorative, Westbrook’s work here is also technically astounding; truly a tour de force.
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I first listened through this a couple years ago, and I don't know why I hadn't bought it until now. Regardless, I think everyone should listen through this in its entirety at least once, the best way I can describe it is beautifully haunting. I'm sure my favorite track will keep changing forever, too.
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Deep, interesting, strong and emotional. Just a great work. Liz Harris will always have something strong, special and surprising in the best artistic way.
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