**In process of restock** "Pentiments continues its collaboration with the legendarily enigmatic American sound art pioneer Leif Brush, this time with an extensive double LP release representing the most comprehensive collection of his recorded work to date. In plumbing the depths of his archives, weve unearthed and gathered a great breadth of his decades-long sonic research, spanning from his early work as a grad student to various lecture documents from his eventual tenure at UMD, with many curious stops and experiments in between. “Stitching in Process: Windmixed Data” brings these fragments together with a somewhat new perspective on their trajectory—pieces are reconsidered, refreshed, and given a new sense of continuity, aided additionally by the expert mastering of Giuseppe Ielasi. Most importantly, this release marks the first commercially available compendium of Leifs greater body of work in his 85 years of life, and for those keen on the early exploration of sound and its potentials, it is a revelation that is long overdue. In an edition of 200 with high gloss gatefold sleeve featuring the photo work of Gloria DeFilipps Brush." - Pentiments.
Leif Brush (b. Bridgeport, Illinois, USA, 1932) is a true pioneer when it comes to sound art. Toward the end of the 60s, as an undergraduate, he created his own sound studies department in 1969 at the School of the Art Institute of Chicago: Audible Sculpture. Before this he had been very active in the world of broadcasting, which he left when he became disappointed with the direction taken by modern radio. His lifelong fascination with nature would direct him to the, often hidden, sounds of the vegetation and the elements. Trees and the wind became some of his classic instruments. His Audible Sculpture took the form of what he would then call his Terrain Instruments. Instruments allowing him to extensively sonify his surroundings. He gradually turned his vast garden in northern Minnesota into his studio, populating it with Windribbons, Signal Discs, Terrestrial Whistlers and even an Insect Recording Studio; all allowing him to sense and amplify the hidden or at least very discrete sounds of nature. Since 1972 Leif Brush has relied on potential real time audible constructions coalescing terrestrial and extraterrestrial wave forms which manifestly and Globally conjoin aural and visual imaging streams via lifi and nano technologies. He never intended these sounds to remain in his garden and basement studio, but instead he investigated and developed technologies and philosophies to disseminate them worldwide, ranging from satellite communication to audio-cassette exchange. He developed the Terrain Instruments (both in his garden and in a few (in the end not so) permanent public installations) until the mid-eighties. Then gradually they got dismantled and eventually recycled, leaving behaind but a few remnants as a reminder.
