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C. Reider ¦|¦ Owning Extinctions

     This collection of abstract noise and drone music was composed as a response to the Deepwater Horizon oil spill of 2010. I do not think that I can say any more with words about this subject than I did with this set of music.

     Read more about C. Reider here. Sound source credits: Track one - Phillip Klingler (some remaining treatments from Fragment 3) /// Track three - Kristina Spurgin (vocal samples) /// Track four - John Kannenberg (hydrophone) /// Track five - John Ingram (various field recordings) /// Track seven - Congressman Joe Barton, Representative of the 6th District of Texas (misconstrued misconstructions).

     The working title for this release was "Shame - Despair - Anger". How many extinctions are in our investment portfolio?


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Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License.


vuzh029
released May 2011


     An early mix of "Disperse" was originally released on "Mer-Wer: An Ongoing Remix Project" on Stasisfield.
An early mix of "Core Exit" was originally released on "Of Places and Moments" on Intelligent Machinery / Just Not Normal.

Reviews of Owning Extinctions

     Review by Acts of Silence
     Just over a year ago the Gulf of Mexico had changed, not due to to some natural phenomena such as a hurricane, but the change was caused by man's hubris - Deep Horizon.
C. Reider has composed and performed a response to this disaster with Owning Extinctions which he released on his own label, Vuzh Music.
Filled with abstractions of noise and other sound manipulation, Reider successful constructs a musical rebuttal to the atrocities released on the gulf.
The six tracks are broken up into various technical and political explanations (and excuses) of the Deep Horizon oil plume each with its own ennui but all comment directly on mankind's (maybe specifically American) gluttony driven by oil and greed.

     Review by Jeff Sampson Music
     Willingly or not, we in the United States are accomplices to the causes of, and the corporate and government reactions to, the 2010 Macondo Prospect oil spill in the Gulf of Mexico. Our insistence on having all the toys (and tools) industry lays at our feet -- our callous disregard for what has to fall in order for us to (at least feel like we) remain "at the top" -- has shown, once again, that we may like to talk the talk but we have a seriously hard time walking the walk. Two artists have made statements in response to, specifically, the disastrous results of the Deepwater Horizon explosion.
C. Reider's statement is musical. Using a wide variety of sound sources, he's created pieces that emphatically describe various parts of the heinous crime to our environment, and the lackadaisical reaction to it by the corporation directly involved and the government we've charged with protecting our way of life.
J Henry Fair is a photographer. With the help of small-aircraft pilots dedicated to protecting the eco-systems and natural resources of the American southeast, he took a series of less-than-authorized pictures from 1000 feet above the spill itself, and the coastlines it has fouled.
I recommend listening to Reider's music while slowly scrolling through Fair's photographs.

     Review by AUTOreverse
     Track one, "Clathrate Gun Hypothesis," sounds like an echoey underwater chamber, an alien life form beside some stalactites. Beside the white chickens. Oh wait, that's "Underwater Plume," I'm thinking of, which certainly does have a dewy vibe about it. "Apologies And Capitulations," sounds like a spaced-out Skinny Puppy breakdown. Several rhythmic elements operating independently, with that tension in the middle. This one is prettified chaos.





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