Eric Cook: Audioblog

Posted some older individual tracks:

• Eric Cook: “Underscores and Asteriks“: Mitten State Transmissions compilation (2006).
• Eric Cook: “PassAgg” (unreleased track, 2004).
• Persona: “Tinnitus“: My Malady compilation (2003)

Recorded 2004, released 2005,on Public Eyesore.
Download it here. Buy it here.

Reviews:
(Dead Angel) I was very impressed with this. It’s hard to tell what he’s using. Mr. Cook has an excellent grasp on using little pops and hisses well. This whole album is a swirling trip through broken electronic sound… occasional, dare I say ‘ambient’ bassy tones pop up now and then, but for the most part this is looping, crackly electronics. Glitchy to the core. - Dillon Tulk

(Indieville) Dark experimental soundscapes that are actually interesting to listen to, how about that? I’m creeped out and yet deeply mesmerized by Cook’s ambient pitches, tones, beeps, and clicks. It’s hard not to call this noise at times, but it’s far from too abrasive - in fact it’s probably as accessible as this music comes. In “Steady State Theory” you’re taken through an evil underground factory, moving past foreign, mutant machinery. As you wander further the sounds echo and reverberate in the background as new ones appear on the horizon. “Early Academy,” a live performance for University of Michigan radio station Ann Arbor, sounds like a trip through a telephone wire. Brief “My Side Your Side My Side” closes off the record with some nice dark tones. Asymptosy is a record’s worth of great, dark, lovely experimental electronic sound… it should more than garner a look. - Matt Shimmer

(Ampersand Etcetera) Three tracks of electronic ambient instrumentals. The first Steady state theory is the longest and shifts through a wide variety of sounds/moods: starting glitchy abstract with deep bass, bloops, processed gongs; more gamey synths, edgier, harsher, spooky and abstract, opening space and possible processed voices in – ebbing and flowing throughout, it maintains your interest through change rather than focus, variations that catch you. Early academy was recorded live and works more minimally – clicks, tones, white noise, burbles – the looping and changing is more obvious, almost like you can see the workings. But it is also more intimate and compelling in its straightforward way, reminding me of Matt Thomas. Finally My side your side my side is a short interaction of shimmering washes, deep woobles with an neat edge. The variation makes this an enjoyable and absorbing release. - Jeremy Keens

I received a request via email last month from an Italian music journalist who was writing some kind of retrospective Gravitar review, asking for anecdotes about the band. This was one of the things I jotted down in response.

Rehearsal spots 1993-1994:
We used to have a rehearsal room in an office building in downtown Ann Arbor, which we shared with another band called the Zug Island Quartet (named after a Detroit area industrial zone). We could only practice between 11 pm and 5 am. We would do these marathon latenight sessions, and then I would drive the hour home to East Lansing where I was living at the time, with the sun coming up…

The building was strangely on the down and out — it did have a few operating businesses in it (and downtown ann arbor is fairly upscale overall), but there would be homeless guys asleep in the elevator when we hauled our equipment in at night, etc. Things got stranger and sketchier after a while; John Westerman, the guy from Zug Island who paid the rent on the room took our collective monthly payment to the property management company that he had been dealing with. The woman he had been dealing with there was gone (fired? left? it was unclear), and they informed him that they *weren’t* in fact the owners or managers of the building. What was that all about? Did they lose possession of it somehow, or had we been paying rent to the wrong person while effectively squatting illegally in the building? We never found out, but we just stopped paying rent, and no one came asking why were there.. So I suppose at that point we went from effectively squatting to definitely squatting.

The building kept going further downhill over the next few months, ceiling tiles falling down, just generally a sense of disrepair kicking. More homeless guys in the building. We heard stories of one of the other office rooms being broken into, so Westerman took it on himself to reinforce our door with extra locks and plywood (a good job too). Then one day, we came it, and saw that someone had kicked a man-sized hole in the wall thru the drywall next to one of the door, and looted it. Needless to say, it was clear that our door reinforcement wasn’t going to do the trick in response to that. Time was up, and it was clear that we need to find better practice space.

The next spot was in a self-storage facility in Westland, a suburb outside of Detroit. I can’t remember how we found the spot, there weren’t any other bands in there, and none of us lived near Westland. I do remember that it was convenient to get to from the highway, so maybe that was a factor. In any case, here we were again in practice spot that wasn’t, really. These were little 10×10 rooms, made of corrugated steel (see: http://flickr.com/photos/ericcook/278292012/in/set-72157594343009215/), with us running a powercord out the door and plugging into some industrial outlet around the corner from our building with 2 or three extension cords. I’m not sure exactly I can convey what kind of ear damage that induced.. we used to rehearse *loud*. Turn up any of the gravitar CDs as loud as your stereo will go, and then put it all in a room entirely made of metal. There would be this high pitched shimmer that would hang in the air as the walls and doors vibrated and shook.

This ended after about 6 months. Again, we were paying rent, but sneaking in to do rehearsals only after business hours, here from about 9 pm to midnight. One day Harold drove out to play guitar by himself during the day.. not sure why. The actual owner of the facility was unfortunately on site, and came flying into the room, red-faced and apoplectic, asking Harold what he thought he was doing. “I thought you were using power tools in this unit!” When Harold recounted the story, I got the impression that power tools would have been marginally better than a guitar, amps and chains of pedals, but not by much. In any case, that was that for Secured Self Storage. We were without a rehearsal spot for a few months then, until Mike Walker moved to Ann Arbor and then joined the band.

Look what turned up in the mail yesterday from John — A new hand-crafted WSG:RB!

If you look at the knobs, you’ll notice that everything on it goes to 11.. Sound samples to come soon. Thanks a ton John!

I hesitate to even call them ’sketches’:

1. newdrummachine + decaying delay feedback

2. newdrummachine + gated feedback

I bought a new drum machine off of ebay a few weeks back. Not entirely sure why, to be honest. Something satisfying about the knobs and buttons.

Technoish try-out w/synthopotamus drone.

Drone jam (excerpt): 5/20/07.

The fourth and final track is now posted. This one rounds things out on a bit of a positive note, with a bit of lightly resonant percussion turning into something like repeated guitar strumming. It turns a little more questioning on the end, with brushed metal and close-mic’ed cymbal.

I need to work on the artwork to finish the release off, and then I’ll post the whole thing as a zip on the discography page.

Part three of four posted. This one is a bit darker again — slow drone build-up then layers of static rain sizzling before scraping and clanking out to a finish. Manages to have a good forward propulsion for the main section without being explicitly beaty.

Mouthless part 2.

Reaktor klank-banking, turning into long tone drones with light cymbal-scratch overlays.

The base of these tracks are taken from an appearance on Jason Voss’ show on WCBN in March of 2003. I’ve always been partial to pieces of them, but they needed a bit of editing, cleaning up and smoothing. Which put them on the back burner (for longer than I ever intended!), and explains why this post is tagged both as New audio and Old audio.

I made several passes at going back and re-performing better/different versions with the same setup of Reaktor ensembles, FX, contact mic’ed cymbal, etc, but I always wound up liking the original live versions best. So I finally decide to get these into a more coherent whole for release, and I’m pleased both with how they’re shaping up, and how the material seems to still feel valid to me 4 years later.