You won't be able to find a Separation gig in one of the local clubs or
basement parties. Separation is one of Rich Stanton's various tape projects
released through his Corprolith label, exploring the use of abstract sounds to
express ideas. Among the different names that Stanton has recorded under,
Separation is currently the main focus and is up to sixteen volumes (the latest
of which is reviewed to the right) ranging from extremely harsh noise, to
minimalist bass soundscapes, to repetitive machinelike sounds.
Separation never deals with concepts in a straightforward fashion, and usually presents them through themes that work themselves out in the actual music instead of preaching its beliefs to the listener with obvious titles and lyrics. The images used for Separation releases are often distorted or arranged in a way that challenges the listeners sensibilities. The sound itself is a challenging aspect of Separation releases, surprising listeners with sudden bursts of noise and volume shifts that prove to be an unsettling experience. Tracks tend to be long, often running the entire side of a sixty or ninety minute tape, and can be a thoroughly exhausting assault on the ears by the time they are finished building up layer upon layer of sonic disorder.
The goal of the Corprolith label is to create an open exchange of interesting music without getting tangled up in the capitalistic nature of the music industry. Trading is usually favored above cash exchanges for each tape, as a direct challenge to the notion that music should be bought and sold like a standard product. As part of this kind of exchange, Corprolith has established connections with other people working with extreme sounds, internationally and within the states. They have also made their sound compositions available through Corprolith in the form of solo tapes, compilations, and collaborations with Separation.
While a live performance looks doubtful for the near future, the Separation series is certain to continue. With each release, new and disturbing sounds are explored by distorting, manipulating, and abusing whatever materials Rich happens to come across.
The latest tape release in the Separation legacy is one of the most interesting of the series. This one makes heavy use of repeating and varying loops and creates the kind of ambience you'd expect to find in a factory.
Side A is a track called "Soundtrack for a Futurist Lactation Film," and works around the slow repetition of an eerily high-pitched looping sound. One might imagine that this is the sound a wheezing animal might make, or that of a severely rusted metal door swinging back and forth. The tone almost sounds organic in nature, except for it's constant repetition that leaves the impression it is mechanical in nature. The classic Separation-style mind games start late in the track, as this loop is alternately made louder and softer. At some moments, the central sound is faded to the point that it is hardly distinguishable from the background tracks of noise, and all sense of order is lost.
The other side, titled "Negative Feedback Engine," makes use of a more dynamic and more machinelike sound. The different loops on this track sound like they could actually be taken from a real machine, and then overloaded with a strong dose of electronic manipulation. These sounds are layered with sharp hissing and droning static noises, and maintain their intensity until the end of the track.
Both tracks have a trance-like quality, despite the different levels of tension. I found myself being drawn completely into the music while listening to each of them. While relatively short for the average Separation tape, it shows a real development in creating strange structures of sound.
Dave Mackler
Corprolith can be contacted at:
PO Box 1041
Buffalo, NY 14215
or via email: rstanton@acsu.buffalo.edu