Scot Jenerik

https://scotjenerik.bandcamp.com

Scot JenerikScot Jenerik is a composer and conceptual artist. Projects include; AUME, F-Space, and Soundtrack for the Dead. He has performed, lectured and distributed audio/video works extensively in the United States, Europe and Japan. He is co-owner of Mobilization Records, has an MFA from the San Francisco Art Institute, founded 23five Incorporated and co-hosted the No Other Radio Network on KPFA.Soundtrack for the Dead: Eli (Cement Album), released 27 January 20141. Eli-Digital-A2. Eli-Digital-B3. Eli-Cement-Minimal Lock Groove4. Eli-Cement-Medium Lock Groove5. Eli-Cement-Heavy Lock Groove6. In the Slab (original concept)The album is made from Cement but plays on a turntable. It has a reverse cut, so it plays from the inside of the disk to the outside. The disk and box are handcrafted. Though the disks are tested to insure that they play, locked grooves and imperfections are possible and what make each copy unique. Examples of three versions of locked grooves are presented here in Digital format.The intent is not to destroy your stylus, but play at your own risk. Surface abrasion is integral to the composition. Also included: A 10" red vinyl album with the recorded version (pre-cement) Side A is forward, Side B reverse. Edition of 55A list of who has the physical copies will be maintained at: www.scotjenerik.comHistory of this project:While on tour in 1996, I saw for the first time, a metal plate for pressing vinyl. Initially the thought was to release a record made out of metal. Given my previous work with cement, the decision was made that cement would be a more interesting medium. Initial test versions were of Mozart’s Requiem. As the finished product was a cast of the vinyl, the disk played backwards, creating a black mass of sorts. The sound was gritty from the surface texture and overall had an ethereal quality reminiscent of a Guglielmo Marconi transmission from 1904. The finalized version of this “test” was given to GX Jupiter Larson of the “Haters” as a wedding present. Work began on a recording specifically composed for the project. In 1997 I moved into the Splung warehouse in the Dogpatch district of San Francisco. During the construction of the living spaces, I jack hammered a 20’ by 25’ section of the cement pad. The composition “In the Slab” was constructed from recordings made during this process. Though the piece made sense in it’s relationship to the material, tests of what it sounded like played from cement were disappointing. The composition “sat” on the cement. The material and the sound did not blend to the degree that I was looking for. Unsure how to proceed, the project was put on the shelf. A few years later, while playing in the band F-Space, the project was momentarily resurrected under the title “Aggregate”. Promotional postcards were made. But an appropriate track did not emerge. Once again the project was shelved. In the winter of 2008, my wife and I were at the North 45 pub in NW Portland, OR. We saw that there was a Swedish Vampire movie playing across the street at Cinema 21. We went knowing nothing about the film, but expected a fun blood soaked evening. The film was Tomas Alfredson’s “Let the Right One In”. It had been a long time since I had been blown away by such a beautiful, engaging film. Soon after, I began to compose a piece as an alternate soundtrack for Eli, the 12 year old vampire from the film. This initially wasn’t in relationship to the cement project. But as the recording took shape, the overall sound needed that ethereal gritty quality. The blending of the two seemed appropriate. The recording completed, three 12” plates were made which the disks would be cast from. So that the playback would be forward, a reverse recording was used for the plates. After a few casts, the plates were gaining abrasion from the casting process and becoming harder to clean. Soon the metal plates needed to be redone. Given the cost, ordering enough “stampers” to finish the project, would not be possible. Also the sound level between the recording and the grit were too mismatched. Prior to re-plating, Thomas Dimuzio re-mastered the recording for maximum gain. This time red vinyl stamped, Side A being the original track, Side B is in reverse and is the casting side for the cement. The size of the disk changed to a 10” record rather than a 12” as the packaging to hold the album was problematic at that size. By this time it was 2011. Given the length of the project, it seemed pointless to cut any corners. Especially in terms of the container for the disks. The design and construction of the hardwood box commenced. I made a test version of the box, but full production was not possible as I was selling my building in San Francisco and moving to Portland. As I began production of the disks, unfortunately after many casts with the red vinyl, very few of the cement disks played well. I realized that there is a significant difference between black and colored vinyl. The project was once again put on hold, while I had black vinyl pressed specifically for casting. The red vinyl would still be included in the box. Finally in the winter of 2013/2014, eighteen years later, this piece is finished. Just like a child, it was time for it to leave home, take on a life of it’s own and join the world. I hope you enjoy it.

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