Name: Having Been Built On Sand
Brand: Dickie Landry

Tax rate EU

Default:19

Supplier EU

Rough Trade UK

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Black

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2022-11-18

Format multiplier

Catalogue number

UW54LP

UPC / Barcode

769256797033

Black LP

Artist

Dickie Landry

Label EU

Unseen Worlds

Genre EU

Modern Composition

Dickie Landry is a renowned saxophonist, born in 1938 in Cecilia, Louisiana. With his mesmerizing performances and innovative approach to music, he has established himself as a true master of the saxophone.

Throughout his career, Landry has captivated audiences with his unique sound and improvisational skills. His style draws inspiration from various genres, including jazz, avant-garde, and experimental music. He effortlessly blends these influences to create a distinctive and captivating musical experience.

Landry's talent has earned him recognition among esteemed artists such as *Alan Licht*, *David Cunningham*, and *Arnold Dreyblatt*. His collaborations with fellow musicians have resulted in groundbreaking compositions that push the boundaries of traditional music.

A record label releasing quality editions of unheralded and revolutionary, yet accessible, avant garde music.

Welcome to Unseen Worlds, a record label dedicated to bringing you the best in avant garde music. Our mission is to release high-quality editions of groundbreaking and innovative music that may have gone unnoticed by mainstream audiences. We believe that experimental music should be both challenging and accessible, pushing boundaries while still being enjoyable to listen to.

At Unseen Worlds, we are passionate about discovering hidden gems and showcasing the work of talented artists who are pushing the boundaries of what is possible in music. From electronic compositions to contemporary classical pieces, our catalog spans a wide range of genres within the avant garde realm. We carefully curate each release to ensure that it meets our high standards for artistic excellence and innovation.

Newest Listed Items

Dickie Landry and Lawrence Weiner's Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.&nbsp;&nbsp; The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one another in closely valued hues. Weiner, meanwhile, volleys between the LP’s title phrase and cornerstone proclamations such as “the artist may construct the piece. The piece may be fabricated. The piece need not be built.” The closing cut makes curious use of delay and alto flute, Landry’s breath and the inherent percussiveness of the instrument’s keys creating a slick rhythmic support that courses through overlapping vocal phrases, advancing and receding declarations of presence and intent.&nbsp;

Having Been Built On Sand

Music EU