- Drone
- Avant-garde
- Experimentalism
- Improvised music
- Microtonal
- Guitar ambient
- Lo-fi
- Sound art
- Minimalism
- Abstract
Comment: as I
see Sean Derrick Cooper Marquardt likes to create guitar solos in
liaison with other musicians. With regard to these split releases he
has collaborated with such artists as Hopek Quirin, Martin Neuhold,
and Jochen Arbeit. Chronologically Chicago, the US-born musician's
collaboration with the latter named musician was the earliest one
based on live recorded guitar manipulations. Undoubtedly such sort
of music one cannot hear at a gig by Guns'n'Roses in the embodiment
of Slash, and Duff McKagan, for example. Rather one might think of it
as not being a guitar-based music at all because all the chords are
heavily treated and mutilated. It is an absolutely different
(parallel) universe with regard to the legends. It conjures up a
fantasy loaded world as if the dwelling place for many horrendous
supernatural creatures. It chimes like two metallic surfaces were
rubbed against each other in a reverberant room (regarding the track
by Jochen Arbeit). However, there is a major difference between the
two 15-minute compositions. Jochen Arbeit's work is clean and
clear-cut with bass loaded delays and echoes and sometimes employing
hisses to be switched on and off. Sean Derrick Cooper Marquardt's
track, the aforementioned one to evoke ghosts in lobit and lo-fi
manner. As if a stoned die-hard lo-fi enthusiast were played his own
obtuse psychic shards. It reminds me of some of the most rejective
moments by Johnny Crewdson, and his combo The Hirundu being created
sometime in the end of the 80s and the beginning of the 90s. It also
resembles my own very first music experiments due to have exploited
different sort of artifacts and primitive instruments and tape
manipulation in a maniac way. In fact, all the course is highly
attractive. The spellbinding release is a part of the discography of
Hortus Conclusus.
