October 2014 - All digital proceeds from this album from this site will go directly to Black Dog Institute (www.blackdoginstitute.org.au
Anonymeye: Six Improvisations for Computer and Guitar
1. One [01:26]
2. Two [02:55]
3. Three [04:07]
4. Four [03:16]
5. Five [04:25]
6. Six [01:28]
Performed, recorded and edited by Andrew Tuttle, April 2012.
Mastered by Lawrence English at 158, October 2012.
Artwork by Grace Wood, October 2012.
Thanks and love to Frith, the Tuttle family, Gavin/Twice Removed, Rosie/Copeland Street, Lawrence and Rebecca English, Grace Wood, and everyone else who has had a chat, organised/shared bills/attended shows, bought records, and downloaded tracks.
Twice Removed Records
Anonymeye: Six Improvisations for Computer and Guitar - TR014
Edition of 150
Vital Weekly (NL)
The only name I did recognize was Andrew Tuttle's Anonymeye project, whom I saw live many years ago. Back in Vital Weekly 793 I quite enjoyed his release on Someone Good, which was a more complex album than this 3"CDR. On that album he played all sorts of instruments, and arrived at some nice sort of pop music with many small variations. Here it's all about guitar and computer, and I assume it's in that order. Tuttle recorded some of his guitar playing and then switched on the computer to do some of that transformation. The sound of the guitar is never far away, and we hear some of the fingerpicking of Tuttle, being nicely (in a limited way) stretched out a bit, adding some harmonic scales on them and all that sort of treatments that computers sometimes seem to have. Now this should indeed drag me out of any depression I may feel. Here too we have ambient inspired music, but the pieces are all sort and to the point, guitar is nicely recognizable and almost sunny. Let springtime come!
Brisbane’s Andrew Tuttle (no relation, as far as I know) has recently issued a 3-inch EP of guitar and computer exercises that… well, that is just lovely. Each note carries with it a fluttering, feathery tail of sound that spirals clear off into the distance from its humble origins. Even with audible edits happening at various junctures, the stream of consciousness never feels broken or interrupted, making the digital elements truly as natural for Anonymeye as is the friction between the skin of his fingertips and the metallic strings of his guitar. That is, though nothing here feels especially revolutionary, nor is any of it technically (or technologically, for that matter) mind-blowing, Anonymeye’s approach still seems even more fully-integrated than just being electro-acoustic music — it’s as if the computer really is an acoustic instrument to begin with. Of course, this isn’t how the physical world allows for us to observe what actually goes into music like this, so I guess we’ll just have to close our eyes and imagine. Which, upon a single soothing run-through of this short, breezy-and-easy sampler, seems to be the best way to do this thing anyway.
9/10 HIGHLY RECOMMENDED
An author of outstanding Anontendre (second place in the recapitulation of 2011: eyebient.tumblr.com/post/15301165956/eyebient-recapitulation-of-best-ambient-albums-in)
returns with his distinctive recognizable original style. This time we are suspended over huge tracts of the Rocky Mountains. Short but beautiful tracks perfectly reflect our longing for something that we have never experienced, revealing of film nature of our desires, that we can fulfill only on the computer screen. This year belonged to the Australians. Kevin Parker from Tame Impala re-defined the sound of The Beatles. Anonymeye re-defines what used to be called an acoustic sound.
First up we have Anonymeye’s “Six Improvisations for Computer and Guitar” ... which manages to say a great deal in its 18 minutes.
The soundscapes presented are brief ... with the longest track clocking in at 4:24. Consider them concentrated ideas ... tracks that are packed with inspiration ... rather than perspiration. Using the computer to loop, repackage and abstract the sounds created on the guitar, Anonymeye creates the most delightful soundscapes ... pieces that sit nicely on their own but deserve to be heard in the context that the full release provides. These tracks merge and blend into one another ... creating a consistent atmosphere that can and should be unhurriedly savoured for its textural richness.
Tracks like “three” dance and swirl in the listener’s consciousness ... the guitar is initially abstracted into layers of droning sound before becoming more apparent as a melody comes to the fore.
This is deep music that rewards any listener who is prepare to dive in and become immersed in the sounds presented. Whilst not demanding your attention, Anonymeye certainly rewards the attentive. Recommended.
Intriguing, countrytronic noodlings increase the depth and subtlety of the Anonymeye blueprint.
- Following the career of Brisbane's Andrew Tuttle has been a journey of increasing depth and subtlety. If you've been kicking around this little berg long enough to know, you'd remember the splattery synths of Molliger: explosions of bratty, youthful noise, long since lost in the mists of time.
Andrew packed such in-your-face noises away and then started trading sounds under the name Anonymeye, slinging a guitar and laying down some dusty countrytronica, I almost didn't know what to make of it. With each ensuing release, however, he has refined this craft, working the synths and strumming into elegantly designed productions of variously ambient, folktronic or glitchy styles, all of which echo with what has become his trademark meshing of organic, acoustic guitar sounds with brilliant synth edifices, strange processing and synthetic echoes.
These Six Improvisations For Computer And Guitar move on from the place Andrew reached with 2011's Anontendre, heading into even smoother and subtler territory. Clearly a bit worried that people will think he's gone soft, the EP's accompanying press-release states explicitly that he's never been “...at ease with the ethos, imagery and sound of “new age” music.” However he does concede that new Anonymeye material has “...increased emphasis on a harmonious interplay between the computer and acoustic instruments.”
I don't think he's got much to worry about there. Six Improvisations takes advantage of the new quiet to blend genres more deftly than ever before. The briefest, ambient, country vista (like hearing a synthesiser from the top of an Arizona mesa) rolls into a pretty little folktronic ditty. Then syncopated glitches of synth melody blend into a blissful edifice of sound, before a propulsive synth melody, rolling like a massive, slowly rotating turbine, envelops everything in the kind of massive grandeur you'd expect from Blanck Mass. I could've asked for more of that, particularly since the penultimate track merely meanders through a very simple tune, that doesn't seem to want to go anywhere over the course of four and a half minutes. The EP's closing track, with a scintillating, brassy choir of angelic voices is again much shorter than I would have liked, but still reminds me of fellow Brisbanite Tom Hall's awesome, ambient structures.
Laid down simply, in only two days and with the barest amount of editing (though it did receive a little tweaking from experimental mastermind Lawrence English), Six Improvisations is not so fully realised that I can be completely satisfied. As a taster of where the Anonymeye sound is going, however, it's very intriguing. Ever more subtle, each sound worked more thoroughly into an interconnected whole, Anonymeye is, as ever, one to pay attention to.
- Chris Cobcroft.
It seems inherent in a lot of music-making nowadays that artists are aware of the sometimes overwhelming amount being produced, but Brisbane musician Andrew Tuttle aka Anonymeye acknowledges this a lot more consciously in his latest EP, with seventeen minutes of calming and minimal abstract folk and electronica.
That perfunctory title should tell you all you need to know – recorded over two days after packing away most of his home studio, the EP features processed but generally relaxed improvisations. Moving in and out of optimistic, gently played guitar lines and seas of hypnotic, shimmering electronic ambience, Tuttle creates a harmonious and evocative mix conducive to relaxation and repose.
This is charmingly unfussed-over music– even down to the song titles of ‘One’ through to ‘Six’. Bright, patient & meditative – it’s a warm and welcoming release, perfect for the imminent Australian summer.