Order Here:Physical:
https://www.norentrecords.com/product-page/peter-vincent-and-a-f-jones-magnifico-c36Digital:
https://norentrecords.bandcamp.com/album/magnifico-nrr54Listen:Video:
https://www.youtube.com/watch?v=O05yh_JFz1gSoundcloud:
https://soundcloud.com/no-rent-records/peter-vincent-a-f-jones-excerpt-from-side-a-of-magnifico"Whenever we change the sounds, we basically move the air within the room, right?"
The air is heavy in the space that Peter Vincent carves out. This isn't to say that 'heaviness' equals 'austerity.' Quite the contrary; the true gravity of Peter's work derives from the performer's knack for capturing the complex emotional experiences that accompany some of the darkest of voids. The void gives nothing back but Peter's gift across a growing body of work that encompasses songs, performances, and sound, is how he manages to convey the endless, eternal association of the abject while preserving his—and our humanity.
"You create that space and now you can change that space..."
The void that looms large over Magnifico is the death of Peter's friend and collaborator Taylan Cihan, a musician and instrument-builder whose singular creations are featured prominently on this recording.
In a twist that could easily devolve into a cynical meta-narrative about the unintelligibility of experimental music, Peter and Taylan describe the work as two close friends might, in a repartee at turns hilarious and heartbreaking. Taylan playfully mocks some of the sounds at one point, comparing them to "space chickens." Formally, Magnifico collapses the interview—really, an elegy—into musique concrete and analog electronic chaos. The banter finds gravitas in the visceral and otherworldly sounds, which by themselves already have so much narrative built in.
This is music that comes from survival instincts. For those of us coping with many kinds of loss, there is much to learn Peter's impulse to find something sustainable from that which is designed to do just the opposite. - Jon Pfeffer
A.F. Jones's Invertida, the outward-facing counterpart to Magnifico, re-situates the listener more firmly as a subject existing with/in/side (of) a place, though this place is not bound by any universal perception of time. Both pieces are marked by disjunction and uncertainty - long tones and cyclical sound objects seem to accrue with every rupture, but every rupture threatens to erase any accumulation as well. In Invertida, a sense of 'place' gradually permeates the subconscious and radiates into being, fusing with the more indescribable aspects of sensation, supplanting the effect on the nervous system that any environment has and replacing it with sounds that appeal to the listener's physicality. - Tyler J. Borden
Edition of 100
