One of my favorite CDs. Ripped in EAC, encoded in Lame --aps. I got pretty drunk in Detroit, Michigan at a show and this guy was the last to play. He was the least worst of everyone there and blew me away with his performance. The funny thing was the only people that showed up for the show were me and my friend. He played a good show nevertheless.
You can check out his website here:
Info & Reviews:
"I composed Resting Places on and off over three years. It was originally conceived as four separate releases that could be heard in succession. After the first piece, ?Garden,? was completed and released as a cd-r on Kissy Records using a markedly different mix, I decided to force the structure on the listener and present all four pieces at once.
The pieces are all inspired by thoughts about sloth, leisure and expiration and how all of those things might inform one another. That simple, severe realization that we have when we are really young: 'We are dying from the second we are born.' It?s not meant to be as weighty as it sounds, but I tried to use that perplexing and morbid thought to inform these pieces. The result is not a serious meditation on mortality by any means. These are not requiems or ?drones of death?. I wanted to use these very vague (and overused) concepts that everyone has to contemplate as starting points for the tone that informs all of these pieces: how do specific locations help us to feel alive and comfortable or confused and dying or both? What happens to the places we live and die in when we leave them? Do they feel anything?
From a technical perspective, almost everything on this CD was played live in some form or another. "Garden" and "Bed" were composed entirely on the computer from samples of instruments and cassette tapes. I then pared down the compositions into minute loops for live performance. "Shore" and "Tomb" were created in the opposite fashion. I created loops with the phrase samplers I use live from various sources (acoustic and electric guitars, cassette tapes of field recordings and sounds from transistor keyboards and radios) and played the pieces as a whole. I then edited those live recordings on the computer. These are pretty simple methods; however, it took me three years to make up my mind as to what should go where." - Brendan Murray
"This beautifully crafted set of four pieces should do much to raise his profile.Murray has strengthened the set by choosing a universal theme (various types of resting places) and representing it in different ways through careful editing. The opening "Shore" is contemplative in tone, with layers of buzzing and shimmering tones weaving steadily in and out of the mix. "Garden" is less linear, with several different sections that gradually develop over 12 minutes. The short, sudden jolt of noise that occurs at one and a half minutes sounds like the equivalent of a flashback scene in a film. The relatively quiet sections of interlocking tones that follow this outburst then carry a heavy sense of tension, as the sounds of past memories could again interrupt the sequence at any time. Murray successfully fuses digital processing with a warm, human touch throughout the set. Six minutes into "Garden" an array of clanging, arrhythmically struck metal percussion is heard amidst the floating tones that gradually build to a steady drift until a section of shrill, piercing feedback brings the piece to a close. "Bed" begins with a collage of beautifully hazy bell tones, which give way to a passage during which Murray can be heard rubbing small bits of metal together. The length of these tracks (each between 10 and 17 minutes) allows him to fully explore each sound before morphing it into something else. He clearly brings a musician's sense of composition to the world of abstract, rhythmless sound. This intuitive sense of arranging and a keen use of dynamics helps the album to remain exciting although a very specific palette of sounds is utilized. "Tomb" is the most dense composition, with several layers of audio muck to wade through. It's a true culmination of all of the elements used in the preceding three tracks. The high-pitched squeals wind their way through a steady onslaught of digital detritus as Murray piles on the layers. If he is ruminating on the possibly permanent nature of the tomb as a final resting place, his reading of it seems to be a celebration of all that has come before this state, rather than a morbid reflection of death itself. By juxtaposing the meditative tones of "Shore" with the peaceful, womb-like environment evoked in the first half of "Bed" and the sheer catharsis of "Tomb"'s exorcism through noise, Murray has presented a thorough and highly enjoyable study of an eternal subject."
-Jim Siegel, brainwashed
"Brendan Murray has been a central figure in Boston's experimental music scene for some years now. In spite of this, much of his recorded work (as choice as it has been thus far) has been frustratingly difficult to obtain here, there or elsewhere, which means his music is not nearly as widely known as it should be. Perhaps this will change with Resting Places, his third full-length release and his first on the Sedimental label (run by former ZBC DJ Rob Forman). One can only hope that it does, since this is a bona fide stunner. Each of the four extended pieces is an engrossing mix of rumbling hums, bell-like tones, and a haze of sonic particulants of unknown origin. In an interview, Brendan once likened his compositional methods to that of a filmmaker in the editing room, and here he is a master of the slow fade, emphasizing subtle transformation rather than harsh juxtaposition. And yet, though there are only a few sharp edges or harshly abrasive moments, Resting Places is not an exercise in sonic sedation by any stretch of the imagination. Even at its calmest, there is a vague aura of unease that pervades throughout and finally explodes in an exquisitely and suffocatingly violent drone that closes the final piece, the aptly, solemnly titled "Tomb." Worth many, many listens. Fantastic stuff."
-Susanna Bolle, rare frequency
"Murray is a master of technology that is on the fringes of analogue and digital: using a sampler makes it digital, but he's also persistent in pushing these sounds through analogue filtering, such as mixing boards. The sources of his samples are obscured by the clouds around them...and all of this is served up as a hot steaming mix of mostly dark electronic music. Proceedings peak at 'Tomb', the final piece, with it's immense walls of drones - upfront, loud and yet totally immersive. Great stuff, and hopefully putting more hands together as his work so far."
-FDW, Vital Weekly