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Soundtrack For The Dead: Eli

Overview

Soundtrack For The Dead: Eli --- 2014-01-27

The album is made from Cement but plays on a turntable. It has a reverse cut, so it plays from the inside of the disk to the outside. The disk and box are handcrafted. Locked grooves and imperfections are what make each copy unique. Each disk has a differing degree of active manipulation required. Playing this disk is intended as a physical interaction rather than a passive consumption. Examples of three versions of locked grooves are at http://scotjenerik.bandcamp.com/ in Digital format. The intent is not to destroy your stylus, but play at your own risk. Surface abrasion is integral to the composition. Also included: A 10" red vinyl album with the recorded version (pre-cement) Side A is forward, Side B reverse. Edition of 55 A list of who has the physical copies will be maintained at: http://www.scotjenerik.com History of this project: While on tour in 1996, I saw for the first time, a metal plate for pressing vinyl. Initially the thought was to release a record made out of metal. Given my previous work with cement, the decision was made that cement would be a more interesting medium. Initial test versions were of Mozart’s Requiem. As the finished product was a cast of the vinyl, the disk played backwards, creating a black mass of sorts. The sound was gritty from the surface texture and overall had an ethereal quality reminiscent of a Guglielmo Marconi transmission from 1904. The finalized version of this “test” was given to GX Jupiter Larson as a wedding present. Work began on a recording specifically composed for the project. In 1997 I moved into the Splung warehouse in the Dogpatch district of San Francisco. During the construction of the living spaces, I jack hammered a 20’ by 25’ section of the cement pad. The composition “In the Slab” was constructed from recordings made during this process. Though the piece made sense in it’s relationship to the material, tests of what it sounded like played from cement were disappointing. The composition “sat” on the cement. The material and the sound did not blend to the degree that I was looking for. Unsure how to proceed, the project was put on the shelf. A few years later, while playing in F-Space, the project was momentarily resurrected under the title “Aggregate”. Promotional postcards were made. But an appropriate track did not emerge. Once again the project was shelved. In the winter of 2008, Nora and I were at the North 45 pub in NW Portland. We saw that there was a Swedish Vampire movie playing across the street at Cinema 21. We went knowing nothing about the film, but expected a fun blood soaked evening. The film was Tomas Alfredson’s “Let the Right One In”. It had been a long time since I had been blown away by such a beautiful, engaging film. Soon after, I began to compose a piece as an alternate soundtrack for Eli, the 12 year old vampire from the film. This initially wasn’t in relationship to the cement project. But as the recording took shape, the overall sound needed that ethereal gritty quality. The blending of the two seemed appropriate. The recording completed, three 12” plates were made which the disks would be cast from. So that the playback would be forward, a reverse recording was used for the plates. After a few casts, that the plates were gaining abrasion from the casting process and becoming harder to clean between casts. Soon the metal plates needed to be redone. Given the cost, getting enough to finish the project would not be possible. Also the sound levels between the recording and the grit were too mismatched. The size of the disk changed to a 10” record rather than a 12” as the packaging to hold the album was problematic at that size. Prior to re-plating, Thomas Dimuzio re-mastered the recording for maximum gain. This time red vinyl stamped, Side A being the original track, Side B is in reverse and is the casting side for the cement. By this time it was 2011, given the length of the project, it seemed pointless to cut any corners, especially in terms of the case for the disks. The design and construction of the hardwood box commenced. In addition to the red vinyl, a free digital download of the various recordings are included. A test version of the box was made, but full production was not possible as I was selling my building in San Francisco and moving to Portland. Finally in the winter of 2013/2014, eighteen years later, this piece is finished. Just like a child, it was time for it to leave home, take on a life of it’s own and join the world. I hope you enjoy it. credits released 27 January 2014 Scot Jenerik: sound, fabrication Z’ev Jenerik: piano Cicada Jenerik: vocal Recorded at: Mobilization Mastering: Thomas Dimuzio at Gench Studios Plating: Aardvark Record Mastering Vinyl Pressing: Erika Records Cover Etching: ADX Portland