NONCHALANCE IN VAIN, by GWILLY EDMONDEZ

NONCHALANCE IN VAIN

by GWILLY EDMONDEZ

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Full Digital Discography

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of ANATOMICAL DISSEMINATOR [MAX/KURT ONE], WICKED HAY, ABSTRACT EXHIBITIONISM VOLUME 2, NONCHALANCE IN VAIN, and SINGING FOR THE PLEASURE OF THE DAYDREAM. , and , .

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1.	Fake Tan 02:07	buy track
2.	Edging Towards The Station Unbending 03:22	buy track
3.	Are You A Musician? 00:25	buy track
4.	DUCT 03:01	buy track
5.	Gilles's Mill Inventory 00:35	buy track
6.	René (Preswylfa Mix) 02:20	buy track
7.	Mercury Chocolate Bollocks Fuck 06:42	buy track
8.	Death In The Valley 03:23	buy track
9.	Ignored Gig (Excerpt) 03:47	buy track
10.	Group Portrait Laughing 10:14	buy track
11.	Distance & Proportion 02:11	buy track
12.	Carcinogenic Samurai 02:43	buy track
13.	Quarry 01:36	buy track
14.	Raw Cigarettes 09:41	buy track
15.	Radiance 03:52	buy track
16.	Cherry Trees In Thunder 01:59	buy track
17.	Dirge Rug With Pipes 05:39	buy track
18.	Quarry Fowl Chorus 02:03	buy track
19.	Tunel 02:41	buy track
20.	Nonchalance In Vain 07:03	buy track
21.	Fang Club 03:28	buy track
22.	Theme From Betty Blue [Bonus Track] 05:01	buy track

about

Nonchalance In Vain is the only album by Gwilly Edmondez that was expressly experimental, in so far as it mostly comprises tracks that were consciously trying things out for the sake of trying them out; the tracks that are clearly songs in the conventional sense (like tracks 4 & 8) are the exception, but every other track is a first-attempt experiment in some unfamiliar, untried approach. And Gwilly tried a lot of different things here: crude repetitivity; incongruousness, non-sequiturs and resistance to style; tape manipulation and sound collage; field recordings; a couple of massively slowed down and/or reversed remixes of songs that appeared on his Classic Clothing album the previous year; and tracks that explored the possibilities of anti-music - it would be years before Gwilly would be exposed to anything like noise music, but it’s also worth pointing out that none of these experiments were inspired by anything Gwilly had heard or encountered anywhere else, which is why, for example, the tape collage stuff sounds so awkward.

The ‘album', such as it was, was a C90 cassette minimally passed around a small circle of local fellow artists in 1988, never properly ‘released’. Most of the experiments were never really followed up, but the way the album is put together (the manner in which material was sourced and the logic of its track order) foreshadows later dictaphone albums like Abstract Exhibitionism Vols. 1&2 and Morse Code Diary.

credits

released February 1, 1988

Gwilly does everything for the most part, but there are loads of other people on this album:
Owen Powell – piano on tracks 1 & 11
Jonny Valabhji – piano on tracks 17 & 22
Helen Schmidt & Wendy Haynes – vocals on tracks 5, 12, 13, 15, 18 & 20
Helen Schmidt also appears on tracks 10 & 19
Matt Bower & unknown female appear on track 3
Unknown participating percussionists appear on track 7, as does Emma 100-Fingers’ speaking voice at the end
The bassist on ‘Ignored Gig (Excerpt)’ is unknown
The group whose portrait laughing constitutes track 10 is: Jason Davies, Clare Powell, Helen Schmidt, Gwilly Edmondez & Seye Preston

Nonchalance In Vain was recorded at the American art school in Lacoste, France (when it was franchised to Sarah Lawrence College) and Cowbridge, Wales over the winter of 1987-88.

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GWILLY EDMONDEZ Bridgend, UK

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