An electronic music/poetry collaboration between Bill Shute and Marcus Rubio:
"All sounds on this record are derived from the spoken texts of the poems. The speech was altered through both digital and analog techniques to bring out the musical qualities of the text and/or act as the trigger for further manipulation."
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"Inspired collaboration between American soundist Marcus Rubio and poet/writer/curator Bill Shute: Only The Imprint... alternates between recordings of Shute reading his poetry – “Oneness And The Sun”, “Objectless” and “The Twenty Fifth Life Of Alcyone” – with radical treatments of sections/snippets/echoes from the reading by Rubio, using techniques like granular synthesis and spectral reduction. The results are startling. Shute has a great, resonant, expressive, reading voice and Rubio inverts this with his treatments, generating cold zones of austere Euro electronics and almost NWW-esque shots of dead air. Indeed, some of the pieces remind me of Nate Young’s Regression experiments, with Shute’s voice variously disembowelled, smear and otherwise dissembled, to the point that it becomes another texture or rhythm in the piece. Rubio would seem to have much in common with John Oswald’s various time-stretching plunderphonic strategies, and the music has that feeling of entire worlds squeezed into seconds, unfolding in rippling rhythms and generating eerie moments of sing-song beauty that feel closer to actual song constructs than ‘mere’ sonic manipulation, with a grandeur and ambition that goes way beyond what you might think the remit entails. And when it switches to Bill’s reading the effect is startling, like a sudden zoom, a crude Jess Franco close-up that feels like a complete inversion of what went before. A great side, highly recommended!"-David Keenan, Volcanic Tongue
"Texan poet Bill Shute offered three readings to sound artist Marcus Rubio, who derived four electroacoustic works from these tapes. Only the Imprint of an Echo Remains features all seven tracks – the electroacoustic pieces and the raw readings, interspersed. More lo-fi than Fortner Anderson’s Annunciations (see 2013-01-07), though still interesting – and Anderson and Shute share similar interests. The title track is very well done."-Monsieur Delire
"The final release is by the for me unknown Marcus Rubio and Bill Shute. Voice is here the main thing. There are three spoken word tracks by Shute, which serve as sound material for Rubio's compositions. Shute reads his text slow and peaceful, without anything else. It works well to play them in between the music pieces, although I can imagine you would want to hear just the music or just the poems. The music is made by using the voice material and take them to granular synthesis, spectral reduction and the Kaoss pad. Rubio builds quite nice pieces of electro-acoustic music, collage like and strong. Time stretching is never far away in these pieces, of course I should think, which is perhaps something one can easily have enough off, but Rubio incorporates that in whatever else he's doing in these pieces. The title piece for instance is a subtle layered pieces of breathing - it seems - rather than words and in 'New Vessel' he uses vocoders and sound like Laurie Anderson's earli
Quite a poetic release, in which poetry and music fit together pretty well, I think. For later at night, with a glass of fine wine. (FdW)"-Vital Weekly