The follow-up LP to "Multiples," four years in the making, Disingenuity b/w Disingenuousness (2010) was born out of a request for material by Bill Kouligas for his then-fledgeling label PAN. Its issue, early in the influential label's discography, ushered in the transition from Harsh Noise & Industrially-laced Experimental music to the powerhouse left-of-center dance music hybrid that it remains today.
Consisting of two, very different pieces resulting from running a Nagra Tape Recorder through the exact same Doepfer Analogue Modular Synthesizer patches; recording it into a software-based DAW, then sending the mixed back through the synthesizer & tape machine, reciprocally, for a minimum of three passes, the LP was unmitigated success, topping the year-end charts of influential Manchester online retailer Boomkat & magazines such as The Wire & quickly selling through multiple pressings.
Working out of the Mimaroglu office in Porter Square, Cambridge &, principally, at sound checks & concerts at The Music Gallery in Toronto & The Stone in lower Manhattan throughout 2007 & 2008, the initial recordings were then versioned & re-versioned endlessly between 2008 & 2010 between shifts operating the business. While the influences printed on the sleeve - "Disingenuity" dedicated to Bernard Bonnier, Luis De Pablo, Pietro Grossi, Costin Miereanu, Basil Kirchin & Dub Taylor; "Disingenuousness" dedicated to François Bayle, Steve Birchall, Michael Czajkowski, Douglas Leedy, Jacques Lejeune & Richard Pinhas - there is also an unspoken nod to the whole Basic Channel / Chain Reaction / Hard Wax axis, made all the more explicit through the LP's expert-level master & cut via Dubplated & Mastering guru Rashad Becker.
While the Stone & Music Gallery concerts were the only real attempts to perform "Disingenuousness" live, the cascading, generative minor-arpeggio canon patch was utilized to greater effect via the Generators series.
Keith Fullerton Whitman bursts back with his first full length record in four years, “Disingenuity b/w Disingenuousness”, comprising of two pieces of forward thinking electronic music with a deep exploration into the analogue sound. Live and studio recordings of the past two years (Cambridge-New York-Toronto) were used as source material, which were then realized into two longform compositions. Using a Musique Concrète approach of deconstructed sounds (ala Pietro Grossi, Costin Miereanu, Basil Kirchin, Dub Taylor, etc) “Disingenuity b/w Disingenuousness” encompasses various reference points from François Bayle, Jacques Lejeune, Richard Pinhas & Heldon to the minimal textures of Basic Channel-Chain reaction axis…
Both tape-collage pieces which derived from an hour-long improvisation based around a setup involving a tape of chance field-recordings (a helicopter, walking on snow, children) bounced to a mono nagra tape machine, which is covered in contact mic’s that translate not just the sound coming from the speakers, but the actual mechanical “interface” of the unit into control voltage & triggers that drive a modular synth that’s processing said audio using the classic electronic music toolkit (i.e. ring modulation, panning VCA’s, filters, etc).
Keith Fullerton Whitman is an American electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock. He records and performs using many aliases, of which the most familiar is Hrvatski and has been also member in many 90s bands, including El-Ron, The Liver Sadness, Sheket/Trabant, The Finger Lakes and Gai/Jin. He started recording using his own name in 2001, and most of his work recorded today is under that name. He studied computer music at Berklee College of Music, where he was exposed to modern electronic music composition and synthesis. His moniker ASCIII has released music distributed with an academic journal. His studio and live setup usually consists of computer devices and other analogue instruments, such as guitars, ouds and synthesizers. Whitman has released albums on labels such as Planet Mu, Kranky, Carpark Records, No Fun Productions, Root Strata as well on his own Entschuldigen and (now defunct) Reckankreuzungsklankewerkzeuge labels.
The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Bill Kouligas.