PBK: Thinking of Eternity LP
Four untitled tracks recorded in 1998 in dedication to Moebius & Roedelius, aka Cluster.
Some perceptions have it that PBK disappeared or his activities slowed down during the 90's but that's a misconception, he was actually very busy during this time. Phillip B. Klingler moved to Puerto Rico in 1992 just as his first solo CD, “Macrophage”, was being released. “I've said before that my work there became very isolationist, outside the world of the tape network, living in a place where there was no noise community or interest in noise, I turned inside to find a new means of creative expression.” He began working with extreme turntable manipulation (inspired by AMK's work) and use of radical midi sequencing. "Listening To The World Vibrate" was his ultimate statement at that time. There are at least six albums that were completed while PBK lived on the island.
In 1996 he returned to the United States to the city where he had grown up: Flint, Michigan. “I joined up with my cousin, Artemis K, and we collaborated and did a lot of live performances. I also began experimenting with psychdelics.” Two releases were created that exemplified a process redefined by the psychedelic experience: "The Mescaline Tracks" and "Headmix", both released in 1997. On each of these PBK utilized a style of improvisational live-mixing of midi-sequences resulting in very slowly evolving, strongly textural compositions. “This was before I got my first CD burner, I was still mastering my releases to cassette, but by running everything at once with the stereo output directly to a chrome tape master (no overdubs) resulted in a very clean, hiss-free sound.”
In the mid-90's a sub-label of Caroline Records had reissued Cluster's "Sowiesoso" album on CD.” I knew of, and had owned, the Cluster & Eno album on Sky Records, but that was well distributed in the U.S. Other Cluster LP's from the 70's were not so well known. When I discovered "Sowiesoso" I would play it over and over. The album is abstract but not noisy, and the compositions are circular. I became obsessed with one track in particular, "In Ewigkeit". This is a beautiful, languid piece, a slowly looping phrase that changes only in small incremements. The track remains the same throughout nearly 10 minutes but new sounds and textures emerge constantly. It still thrills me.”
In late 1998, using the same techniques by which he had composed the psychedelically inspired music of the year before, PBK spontaneously began working on a quartet of pieces as a tribute to the Cluster album he had become obsessed with. “All of my synthesizers and samplers would be set up and running via two synched midi-sequencers, everything mixed live while manipulating the sounds by hand to achieve these incremental timbral changes, the slow effect of tones fluxing and returning later in a changed form. I used sample loops that were appropriated but I can't remember the sources. I combined them with synth sounds and noises and mixed it all very carefully in real-time.”
The story stops there for nearly twenty years. As these things happen, a musician shelves a project for various reasons, maybe it seems unfinished, or they are distracted by other projects they are working on. In this case, his collaboration with Russian composer, Artemiev ("Dreams In Moving Space"), took precedence and attention, so PBK stored the master tape with thoughts of returning to the material at a later time. “But then a personal crisis happened in 1999 and with my marriage ended, the master tape went into storage and went unheard by any other ears until unearthed in 2016.
Black vinyl in handstamped sleeve. Limited edition of 300 copies.