Classically trained composer and contrabass player Yair Elazar Glotman expands on his work with James Ginzburg on Nimbes (SUB 012EP, 2014) and his analog tape work as KETEV (Opal Tapes, Where to Now?) with a record exploring the hidden resonances of the contrabass. Yair Elazar Glotman's Études disrupts the subconscious processes and muscle memory learned as a classical contrabass player to interrogate his instrument, drawing out hidden resonances, physical vibrations, and explorations of uncharted territory of the instrument's acoustic dynamic range. Within the ten pieces presented here, each a solo performance, he looks to develop a black box scenario for composition. Creating a separation between action and outcome, he escapes learned restraint, abandons former training, and develops a method by which concentration and control are translated into a visceral interaction with the bass, uncovering hidden sounds and building an expansive and dynamic sonic palette for the contrabass beyond the confines of classical virtuosity.
Deconstructing the contrabass into it's sound components, he repeats and reveals the material properties of the instrument. Working outside the instrument's natural dynamic range, close Micing various parts of the instrument's body and strings, previously obscured resonances are revealed and energy expenditure is transferred into colossal rumbles and physical vibrations; the thrum and whirr of the contrabass and the hiss of tape amplified and interrogated into monolithic presence. The recordings preserve these resonances from the instrument's body and strings, but rather than attempt a neutral and accurate sonic representation of the traditional sound of the instrument, Études gives the analog recording and mixing process a tangible presence in the recordings, drawing out and exposing the medium of recording reflexively. Études was composed in Berlin, recorded at the legendary EMS studio in Stockholm, and mixed together with James Ginzburg (Emptyset) at Multiverse in Bristol, UK.