utterpsalm

John Wall Alterstill

Four works from 1995: Fragments, Alterstill, Belief Not, Stunde Null (I), Stunde Null (II).

The first in British composer John Wall's beautifully designed series on the Utterpsalm label … Wall's vision and process is unique. Few artists work with the attention to detail -- from production through to packaging and presentation, the work is beautiful. Rumored to have spent literally years making albums, it is easy to believe when hearing the complexities of the fine electro-acoustic transformations.” ~ Sylvie Harrison, All-Music Guide

John Wall Constructions I-IV

Four works from 1997 through 1999: stat/unt/dist, taut serenatic, rumble/hard/abrupt, and dro/ickt.

“Constructions marks the seamless convergence of disciplined composition, sampling methodology, live improvisation, electroacoustics and serendipity.”




John Wall Constructions V-VII

Three compositions dating from 1999-2000: hylo, stem, and luxi var.

John Wall cphon

From 2003 through 2005, cphon is a 20-minute composition pieced together from thousands of heavily worked minute samples.






John Wall Fractuur

Four works from 1995 through 1997: Fractuur, Statis, Distil, Untitled No. 3.

Composer Wall’s third album on his Utterpsalm label features the playing of Peter Sheppard, John Edwards, Jorg Widman, David Fitzerald, Phillip Shepard, and Guy Cowley.

'Few have created pieces as distinct as John Wall's richly sonorous works of exquisite textures and utmost musicality. This is a musical analogue to a Kurt Schwitter's collage - swarthy, detailed and utterly artful.' –Wired

John Wall Hylic

Dating from 2001 through 2002, Hylic is a three-part work lasting a total of just more than 20 minutes.

“Gustave Flaubert is said to have been such a fastidious writer that he’d agonize for a week over the placement of a comma. This almost fanatical attention to detail id vharacteristic of Lonfdon-based composer John Wall. Hylic, Wall’s sixth release, has been nearly two years inh the making. It’s a tripartite suite of 20 minutes duration, and in material and form it’s both a consolidation of and a departure from his earlier work. … Wall constructs transformative electroacoustic soundscape of remarkable individuality.” —Brian Marley