released 21 May 2009
written, recorded, edited, produced, mixed, performed by Andrew Tuttle throughout 2008.
mastered by Cornel Wilczek at Electric Dreams, January 2009.
Additional synthesiser/guitar on tracks two, five, six, eight, nine, ten recorded at Centre for Electronic Music/WORM, September 2008.
Track seven recorded by Tim Condon, February 2008.
Cameron Webb features on track five, Tim Condon features on track seven.
Thanks: ADM/sound&fury (RIP ADM), Lukas + all at WORM/CEM, Cam, Tim, Cornel, Arts Queensland, Tuttle family, Sarah, Gwen + Jamie, Kath, Drea, Miyuki, Nevdrian, Miranda, Kate + Cam, Danni, Lawrence, Joel, Marcus/Curt, Shoeb/hellosQuare, Feral Media, Audiopollen.
THE DISAMBIGUATION OF ANONYMEYE
25 August 2009
review by Paul Rankin
Just like the word “disambiguation” might, at first glance, appear complex but in truth it really isn’t, Anonymeye’s smooth blend of looping acoustic guitar and digital noise could at first listen befuddle, but only a few tracks in The Disambiguation reveals itself to be a relaxed alternative to those stale Sunday Chillout Sessions-type discs. The album opens with the two-part Memorandum, a short fuzz of digital blurps and drones, like the clearing of one’s throat before delivering a rousing speech (or clearing your ears of whatever abrasive pop you’d just listened). But instead of something grand and loud, Anonymeye curls up on an old torn couch and mumbles soothing non-verbal anecdotes about overcast days spent by the sea. Tracks drift through aural themes like a wander along the shore, and by the end the whole disc feel likes some precious childhood memory transcoded to video.
Foxy Digitalis (USA)
4 August 2009
review by Henry Smith
The moniker of experimental artist ..Andrew Tuttle.., this disc, named in honor of John Fahey, Mariah Carey and Wikipedia according to the liner notes, find the experimental artist supplementing his finger-picked guitar works with a number of synthesizers, giving the album a strange habitation between the mechanistic and acoustic that gives it a highly unique feel.
The first two tracks, “Memorandums 1 & 2,” are pure synth stasis, giving little hint of the sound to be explored on “Hill Loop,” a gently lilting guitar progression finger-picked within sheets of gliding synth lines that morph between alien signals and pure warm hum as the guitar fades out and is replaced by a banjo that closes the track with a kind of bristling, thistle enwrapped joy. “If at First You Don’t Secede…” finds the same sense of warmth in the synth work meeting a sliding string line that keeps things firmly in the yellow grasses of the South, its humming overtones displaying the stars’ clarity from the expansive fields. There’s an almost Henry Flynt feel here in terms of bluegrass being reinterpreted to more experimental ends, though the addition of synths calls for very stripped lines and a humble feel often lost in Flynt’s hyper-conscious work.
Other highlights here include “Janitor of Luna Park,” a real tune that has a nervous sense of nostalgic excitement, single note synths chattering amongst Appalachian valleys of guitar pluck and strum. “Sabbatical from Procedure” starts faintly before crackling inward, its thudding underbelly pushing it along the dune lines until it slips out on the water, riding crests of waves toward coasts unknown. The closing title track is perhaps the most Fahey-like one here, and almost could be off of “The Yellow Princess” in the way it moves between folk interpretation and sheer experimental what-the-fuckery. A nice little disc, understated and well conceived, with appearances by Seaworthy’s Cameron Webb and Mirrored Silver Seas’ Tim Condon. 7/10
Vital Weekly (The Netherlands)
23 June 2009
review by Frans De Waard
I don’t keep lists of concerts I attended, but I am pretty sure I saw Anonymeye from Australia at Extrapool once, and for one reason or the other I seem to remember it as quite nice. But I have no idea what it sounded or looked like. Andrew Tuttle is behind Anonymeye and at first I thought he was a noise act – the first two, short, pieces are in that vein. But it turns out that Tuttle is a guitarist in the best John Fahey tradition. Picking the strings like the master himself, but when traveling Europe, he stayed at Worm in the room where the CEM studio is now located and recorded on ancient, pre-historic synthesizers a bunch of sounds, which he mixes with his guitar playing. He doesn’t do this at random, but carefully selected sounds that work well, either in the background or more upfront. It may seem, written down like a duo of weird analogue synth sounds and warm guitar picking, an odd combination, but it works well in the ten pieces Anonymeye plays here. An excellent release.
Norman Records (UK)
review by Ant
Next in my ears is a CD from Anonymeye on Sound & Fury and it sounds great actually. It’s called ‘The Disambiguation of Anonymeye’. The first couple of numbers are analogue synthesizer workouts that really pricked my ears up, then a total contrast on ‘Hill Loop’ he’s plucking away at his steel string acoustic guitar then slowly layers of analogue synth buzz build up. As the album progresses it really becomes apparent how well Andrew Tuttle combines the electronic and organic sounds to work in total harmony. I’m digging a lot of the synth tones and pulses on here. Edition of 500 is recycled card sleeve.
The Silent Ballet (USA)
review by Marcus Whale
The tension between the mechanic and organic in Anonymeye has always been significant – previous releases on sound&fury, HellosQuare, CURT and Half/Theory saw Andrew Tuttle’s steel string acoustic dismantled in various ways. However, on The Disambiguation of Anonymeye, Tuttle has opted not to incorporate each as an individual technique, but rather to pilot the progression of this album around their interaction. The first two tracks clock under two minutes each, and both feature the brutal manipulation of saw tones. These give way, immediately and arrestingly, to the measured familiarity of Tuttle’s guitar: a masterstroke in the album’s construction. As a result, the album becomes a seething, live mess of sounds, combating for attention – a fascinating, and occasionally beautiful thing to hear.