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Brico016
Lane Arndt aka The Specialest
Mourn O Venuses and Cupids

1-The Specialest 4'14"
2-Fantasia for Piano & Electronics 16'35"
3-Mourn O Cupids and Venuses 5'52"
4-Agro Love Song 8'24"

total time - 33'05"

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technical_info

Composed and recorded by Lane Arndt from 2003 - 2004 in Edmonton, Alberta, Canada

Visual (Cover) art by Jon Vaughn.

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label_statement

From digitally constructed free jazz rock to Impressionistic soundscapes, Lane Arndt (aka The Specialest) has meticulously
crafted a sonic delicacy "Mourn O Venuses and Cupids". Very exciting for the ears, each displays a remarkably different,
yet connected terrain that eludes to personal narratives. Arndt's background in academic composition and music education
has provided him with a varied and extensive palatte to create a unique flavour of avant-pop-a-zoid electronic music.

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artist_statement

This collection focuses on the aggressive dissonance of what has come to be known as the composer's ‘'melancholy period',
which spans the winter of 2003 into the early spring of 2004.

"The Specialist" can be viewed as an underground contemporary of the Heckerian cannon, heavily committed as it is to the
various forms of glitch while maintaining an ear toward the necessary beauty of the melodic hook.

"Fantasia for piano, synth, and electronics" (aka ‘'fantasia') is an early representative of what is now recognized as
the ‘'classicization' [sic] of the electronic oeuvre; melding an ambitiously tonal processed piano improvisation
with a sonic polyphony involving the usual cast of sonic colour and a few split tones that break like digitized seagulls
wailing forth, splitting the lakeside calm of the pianos melancholic reverie. Essentially an arc form* (ABA) with
introduction and postlude bookending the pianos long journey, the piece is notable for its painfully late
resolution after wallowing in its own meandering minor sadness for upwards of thirteen of a total 16.5 mins.

"Mourn O Cupids and Venuses" whose title is taken from the Anne Carson poem of the same name, is perhaps the composer's
most stable sonic outing of the current collection, save for the rather incongruous early break in the clouds of
Pendereki-clusters to let in an introspective sample** which is wiped out with invective as quickly as it arrived.

The earliest composition of the collection, "agro love song" is a challenging listen for even the most jaded of romantics,
possessing as it it does a nearly relentless snare drum and a dynamic rainbow of distortions that emulsify the rather
minimal harmonic/melodic content of the piece.

Though the case could be made between the formal and thematic contour of the Sonata's
Exposition-Development-Recapitulation tripartite construction. **taken from the track 306, from "Lily Plain-You’re Hardly
Poor" the AA Sound System’s first album in which, as Lane Arndt, the composer plays the bass and sings harmony vocals.
-Lane Arndt, 2004

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artist_bio

Most likely born in edmonton alberta in canada, c. 1971, education pursued across three canadian provinces between 1990-97
with a focus on music performance and theory throughout; raised well outside of the churchbased infrastructure of
conservative late 20th C. northern alberta, married in ontario c. 1997 and divorced in 2003, however a separation prior
to this is most likely evident in his early return form the ‘"eastern sojourns".The aesthetic disparity typical of late
20th/early 21st C. postmodern electronicisms make the cataloging of the composer-performers works a near thankless cause
for even the most assiduous scholar; however, digital ‘"watermarking" has now made it possible to trace the collected
works, samples, AIFFs, etceteras--confirmed and questioned alike--back to a single 2nd generation iBook licensed to
proxyboy, a well known regional tag for Lane Arndt.

Resistant to the scholarly task of definition through categorization, the composers output must be taken for what it is:
equal parts experimental ethos and structural pathos within a framework of tones and frequencies, leaving none wanting
for any thing more than a hint of identity in the futile search for unity of form and function; the postmodern
anti-form of openness. As a guitar player l.a. trades in a type of fluent free associations, at times attempting
to navigate the slippery slope of the outside/straight-ahead callosum. Functioning at erratic intervals as either
(or both) ‘"the Specialest" and ‘"cUPS", all levels of sonic disparity are juxtaposed in his abstract experimental
approach to electronics.

DISCOGRAPHY
The Improvised Network vol. 1-69 released in micro-runs of 5-20. CD-R. Hand made one-of-a-kind design for every release. Live Recordings at Second Fiddle Books, Edmonton Alberta 2001-2002.
The Improvised Network vols 70-95 (TINFest) (unreleased pending liability) 25 CD box set of the innaugural TINFest festival of improvised music, featuring 40 area improvisors recorded over 11 nights in Edmonton Alberta. june 2002.
Split evening between Vertrek Ensemble and the four core members of TIN. (feb 2002) 3 cd-r micro release (20 copies) with hand made cover art.
Collaborative invitational performance featuring Ian Birse (audio/video) and Laura Kavanaugh (soundfloor sampling and live manipulation) and the four core members of TIN. May 2002 (unreleased).
cUPS "edition 1" 3-song live electronic home recording 2003. CD-R. issued in
hand-made package and distributed freely to those who like such things; summer 2003.
cUPS "edition 1.1" re-release of "1" with two extra tracks. CD-R. issued in
contrasting hand-made packaging; summer 2003.
Bringing Fish "Aeroport" by Mark Templeton with beats and production by Lane
Arndt. released Edmonton 2003.

"Kayinko" a piece composed with improvisatory flexibilty as a colaboration with
dancer/choreographer Kay Grigar for the closing ceremony of Edmonton-based
Lattitude 53ís 2003 "Visualeyez" festival of the visual arts et al.
"smiles for wendy" a minimal idm track written for a short film by cynthia
sentara called "Nada Anew" a work which features as namesake of the film, a
brilliant poem by Brian Chan. Screened at Metro theatre in The Citadel Theatre
in Edmonton Spring, 2003. (Film can be seen at Zed.com where it was featured on
July 14th.)

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BricoLodge is a net.label for eclectic techno, playful composition and
complex experimentation that emerged from artistic and cultural exchanges
between the site directors, Carrie Gates and Jon Vaughn and other artists
from across Canada and the world since the turn of the 21st Century.

http://www.notype.com/bricolodge/

bricolodge@gmail.com

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