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dHialogue - Fine as Diamonds

by idealstate recordings

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  • Streaming + Download

    Immediate download of 12-track album in your choice of 320k mp3, FLAC, or just about any other format you could possibly desire.

    Download package includes: Catch Fire outtakes (feat. Paulo Cruciani, flugelhorn), sleeve-art and printable pdf-booklet of lyrics and paintings.


    All proceeds go directly to the artists involved.
    Purchasable with gift card

      €5 EUR  or more

     

  • Full Digital Discography

    17
    releases

    Get all 17 idealstate recordings releases available on Bandcamp and save 35%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Edges, asto ilunno, like also and any, to orient themselves with coastlines, Xiàzhì, dHialogue - Fine as Diamonds, white & red | LUX, pared, and 9 more. , and , .

    Purchasable with gift card

      €52.65 EUR or more (35% OFF)

     

  • Compact Disc + Digital Download
    Compact Disc (CD) + Digital Album

    Limited edition physical release comes in 300gsm printed digifile sleeve. Price includes international shipping.

    Includes unlimited streaming of dHialogue - Fine as Diamonds via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.
Fine As Diamonds 06:13
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2.
Weaves 06:10
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3.
Catch Fire 05:57
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4.
Every Tonnel 12:28
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5.
Inside 05:52
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6.
Inne Samo 03:04
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7.
Bree 04:52
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8.
On The Brunk 03:25
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9.
AOE 09:50
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about

Gosia Winter: vocals/harp/china plate
Lee Noyes: acoustic guitar/percussion/live processing
David Holmes: amplified canvas/paintings/vocals

All songs 2008 Winter/Noyes/Holmes

www.leenoyes.com
gosiawinter.com


Dhialogue was born in 2002 when, being used to improvising on acoustic guitar to the pre-recorded scrapes and pops of my own drumming, I struck upon the idea of using contact mics on the canvas of painter/friend/collaborator, Luke Hancock. Early attempts provided some very humorous moments, but the idea never really left Luke’s lounge.

Thus, the idea slept for a number of years until I met painter David Holmes, who immediately took a shining to the idea, excited by the exposure of process in the creation of an art-object: natural enough to the improvising musician; still often an idea foreign to the world of painting. Regular meetings and recordings took place and dhialogue found its feet.

July 2007 – enter Miss Gosia Basinska. An immediate rapport was established between we two around impromptu playing in Mt Barker, Adelaide, convincing us of a need to continue collaboration. I sent Gosia recordings from the dhialogue project more for getting feedback from a sympathetic ear, little expecting the course that was to be taken through her involvement.

Here, now is the result; some improvisations more or less in their entirety; others chopped or looped whilst still retaining a live and minimal feel… tracks bounced back and forth over a period of months as a certain kind of relationship found its boundaries. I am very grateful to both David and Gosia, and to the fruition of this rich dialogue.

Lee Noyes


David Holmes – Artist
When I paint, all my attention is on the colour and structure of the work. The colour and structure survive, but the sound, the smell, the process of the painting are lost. It occurred to me that if the canvas became an instrument of sound, then I could capture the physical act of painting. In these pieces I have used the canvas sometimes like a soft drum, sometimes with brushes, another time scraped with a spatula. There are the sounds of cardboard rolls and pot scrubs dipped in paint, dropped, thrown and scratched across the canvas. In one song I attempted a sculpture using a block of wood, mallet, chisels and power tools. The sculpture came to nothing but the sounds from the process were used in “Fine as Diamonds”.


Gosia Winter – Musician
Using the tracks that Lee and David had worked on I did what comes most naturally to me – I found patterns. I found patterns of sound within the tracks as they were and also created these patterns with loops from sounds that stood out to me. Then, once I felt I had the mood of the piece, I improvised vocals onto the track and occasionally added other instrumentation. What I enjoyed most was the simplicity and space in the tracks and in the music David and Lee had created.

credits

released July 1, 2011

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