Loving the Chambered Nautilus is a series of works written specifically for the players of ACME merging the classical chamber music tradition with electronic retro-futuristic pop gestures. In each of these pieces, complexity and virtuosity coexist alongside visceral impact and surface appeal. The electronic components of these works mainly focus on vintage synthesizers and rudimentary drum machines, while the string playing most often buoyant and propulsive with interspersing moments of tenderness and calm. The pieces in the Future Shock series focus on visceral impact and power, while the title track and Loons Lay in Crystal Mesh attempt to capture a sense of catharsis and longing (while still being, at times, joyous). The title of the project is a reference to the Chambered Nautilus, a fascinating marine creature inhabiting a complex and beautiful shell. The inner chambers of the animal's shell display a nearly perfect equiangular spiral, and it is often captured and killed for it's beauty. Most uniquely, the Chambered Nautilus is comprised of both organic and inorganic material, with the line between being and shell often blurred to the point of becoming indiscriminate. This fluid duality (if there is such a thing) in effect mirrors the relationship between strings and electronics in this project, with both elements coexisting to the point of becoming one.
released 26 June 2012
Violin, Vox, Banjo: Caleb Burhans, Viola: Nadia Sirota, Cello: Clarice Jensen, Flute: Eric Lamb, Harp: Megan Levin, Producer: Andrew McKenna Lee, Artwork: LOVID
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