I've Told You Once (Suburban Observances Volume Two)

by Howard Stelzer

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    Following on the heels of acclaimed releases on No Rent Records and Chocolate Monk, Stelzer weaves abstract collage, dynamic post-rock, and angular funk into a complex web of experimental textures and noise. Stelzer himself is a modern-day practitioner of old-school DIY sentiments, processing this material from the work of over twenty pen pals and acquaintances.

    Through over thirty years of experience in avant-garde circles, Stelzer’s approach to sound is one of intricate craft and often joyfulness.

    Transparent C62 tape with gold liner and full-color sticker labels packaged in a black norelco case with double-sided, color insert printed on heavyweight cardstock. Limited edition of 50 copies.

    Includes unlimited streaming of I've Told You Once (Suburban Observances Volume Two) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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about

"When I’m not being an internationally famous composer of beloved music that continues to inspire generations of listeners and influence popular culture on every continent, I teach middle school math. In the education biz, we often invite other teachers into our classrooms to observe us at work. Teachers create their own little world within four walls; we build our routines, establish patterns of behavior, create a specific culture for our students and ourselves. When another teacher visits our classroom/world, that person might notice details that we may not have. We spend so much time inside our classroom/world that sometimes it takes a fresh set of eyes and ears to point out things about it that we might have glossed over, or that might have eluded our attention. Or we may have our own subconscious biases and assumptions that someone coming from outside might be able to helpfully point out to us. Teachers who observe their colleagues and who welcome observers into their classrooms facilitate a culture of reflection. We’re open to new ideas, actively seeking out honest feedback for the sake of becoming a better teacher and, as a result, improving our students’ education.

The “Suburban Observances” project grew out of a related idea. As those of you who’ve read the best-selling, critically-acclaimed first volume of my autobiography already know, I am a reflective sort of guy. I’m wary of falling into habits, of becoming insular and making hermetic music. My desire, after all, is to communicate. I don’t want to make impenetrable music that doesn’t speak to anybody, but if I’m holed up in my studio all the time, I might not recognize if that’s what I’m making. The aim of this project is to force myself out of patterns, to allow observers to offer their own reflections on and responses to whatever it is I do… and, as a result, to help me write (hopefully) better music.

It started with a group of sounds that I’d collected over many years. These were sounds that I knew very well. I had my own thoughts about them, but recognized the limitations of that familiarity. I sent the sounds to people all over the world… to some old friends, to several artists that I don’t know personally but whose work I admire, to people I’d met and to others I haven’t yet… and I asked each person to render them unrecognizable. Everyone’s instruction was to process, manipulate, rearrange and change them, to take them as far as they wished, and then send them back to me. Finally, I’d take a year or two to compose new music using my one-familiar sounds that had been filtered through other people’s perspectives. Each volume of the “Suburban Observances” series is related, of course. If you listen to all six volumes (and I hope you do), you’ll be able to hear elements shift sideways across songs…how an idea initiated on volume one is re-examined and completed on volume three (and so on)… how songs complement, comment on and reflect off of one another… and how there is sonic sympathy from one album to the next and throughout the series… but each volume is also distinct and discreet.

Volume two incorporates processing by Andrea Pensado, Theo Gowans (Territorial Gobbing), Andrew Zukerman (Fleshtone Aura), Theresa Smith (DeTrop), France Jobin, Ross Scott-Buccleuch (Diurnal Burdens), Frans de Waard (Modelbau), Roel Meelkop, Joe Murray (Posset), Melanie O’Dubslaine (Ashtray Navigations), Phil Todd (Ashtray Navigations), Rudolf Eb.er, Chris Donaldson and Stuart Chalmers. There’s some vocals by Tori Kudo, Andrea Pensado, Yan Jun, Stefan Neville and Giblet Gusset. I used my usual arsenal of cassette tapes etc and composed everything between 2019 and 2021 here in rural Massachusetts."

-H. Stelzer, 2021

credits

released September 25, 2021

All songs composed/recorded by HS at The Hotel Amnesia (Lowell, MA) & The Sun Room (Ashburnham, MA) 2020-2021.

HS - cassette tapes, tape players, speakers, percussion, instruments, etc

Tori Kudo - voice on Sayonara Baby
Andrea Pensado - voice on Choose This Planet or Not!
Giblet Gusset - voice on Choose This Planet or Not!
Yan Jun - voice on There Are Always Hands
Stefan Neville - voice on There Are Always Hands

Processing: Theresa Smith, Theo Gowans, Roel Meelkop, Andrew Zukerman, Ross Scott-Buccleuch, Fraser Burnett, Frans de Waard, Stuart Chalmers, Joe Murray, France Jobin, Andrea Pensado, Melanie O’Dubhslaine, Chris Donaldson, Rudolf Eb.er

Artwork: Max Julian Eastman

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