Carbon Bands:

 
Ada le O
Andy Gilmore
Asthmatic
Autumn in Halifax
Chad Oliveiri
Crush the Junta
Deciduous vs Conifer (aka AC vs DC)
Entente Cordiale
Finkbeiner
Hilkka
Hinkley
Joe+N
John Charlton
Kelli Shay Hicks
Noh
Pengo
SHED
Sheet
SQ
Transcendental Manship Highway
Tumul
Tuurd

Andy Gilmore

Stats:

Birth: September 18, 1974
Members: Andy Gilmore

Contact:

birdbrid@gmail.com

Bio:

andy plays guitar very well...

Websites:
BLOG A
BLOG B

Releases (10):

Past Shows (14):

Media:



      Related Reviews (6):

      City Newspaper
      SHOW: AV Curators Show - A|V (Rochester, NY)
      The drawings of Andy Gilmore feature intricate images of both human and animal subjects. Tight, straight red and blue lines compose the flesh depicted, looking much like the striations of muscle tissue. While a few of the works feature fully formed creatures, we mostly meet the gaze of skinless beasts and look upon not bodies, but parts. Since Gilmore uses frames likely found in grandmother's attic or at a local thrift store, the viewer cannot help but remember that they once held images of intimate personal meaning for their owners. Substituting that portrait of a smiling cousin with these slightly macabre drawings gives the entire endeavor a pleasingly unsettling feel. - Luke Strosnider

      The Wire
      RELEASE: i don't think the dirt belongs to the grass
      The compact Rochester, New York label Carbon Records is not the normal unit-shifting operation. Judging by their Website, there seems as much music being given away as there is being sold, and the roster of artists is too wide and weird to form any sort of house style. Label boss Joe Tunis (Joe+N) carries so many collaborations in so many formats and forms that it's hard to believe just one man is behind the whole operation.

      Carbon's tenth anniversary entailed another minor deluge of new material. Following a dedicated CD-R series for the occasion, this weighty triple CD set features artists from the last couple years of Carbon's life cycle, and feels impressively comprehensive. More importantly, it's never less than a lot of fun. Many of the names here -- Thurston Moore, Keith Fullerton Whitman -- can already boast of substantial oeuvres, but like all of the contributors, they keep it short, sweet and fresh. Moore's amusing "Anal Cry" sounds like it's made on a car alarm rather than a guitar. Taurpis Tula move outside Heather Leigh Murray's intimate vocals into the spacious textures and layers of The Dead C.

      Despite the 'anything goes' experimentalism Carbon exudes, none of the artists sound like they're struggling through a momentous aesthetic dialectic. These tracks are as natural as breathing, and radiate an unpretentious joy in self-discovery. Andy Gilmore 's back-porch guitar strumming is as nimble and contented as Jerry's Garcia's soundtrack to the sand-covered lovers in Zabriske Point, and Carpentry's Loren Connors-style guitar lament is so loose and languorous it feels like you've stumbled in on a private doodle. Although I Don't Think The Dirt Belongs To The Grass spans a wide aesthetic terrain, from bedroom drone to cathartic free blowing to raga folk, Carbon's mission is not to document the state of art so much as to share their time and their world. The music resonates because, like those Website giveaways, it feels free and easy, and part of someone's everyday life in Rochester. It's the sort of compilation to live with and love. - Derek Walmsley

      Foxy Digitalis
      RELEASE: Lord, hold my hand while i run this race.
      I’ve only ever paid Andy Gilmore passing interest. I never really gave his Of Lice and Moons much contemplation. It was only when I absorbed myself in Lord, Hold My Hand While I Run This Race that I discovered a truly captivating and emotionally-driven exhibition of sound.

      These lonesome guitar and piano creations drift and stray out of the disc and implant themselves directly into your imagination, where they reminisce over whispered sighs of sentimental memories and ecstatically rejoice over the empty shells of past glories. In doing so, it evokes a stirring, sequestered awareness of abandonment, and removal from these joyful recollections. These bleaker elements begin to penetrate and alter those thoughts. The stark sensation that you are now withdrawn from reality is a cold wake-up call that spits you back out into Gilmore’s desolate sounds.

      The clanking of piano pedals and clinking of keys makes for a perfect soundtrack to a despondent existence, but through this, it still manages to radiate splendour and beauty. This won’t just pull at your heartstrings, it will puppeteer them.

      When we were younger, we couldn’t appreciate the lack of responsibility we had. Now that we’ve grown, we increasingly find ourselves asking, like Gilmore, for someone to hold our hand while we run this race. - James Clarke

      Crucial Blast
      RELEASE: the nature of systems
      This excellent compilation has been out for awhile, but we've never carried it before, and with the great mix of artists/bands on this CD, we just had to offer it for anyone who hasn't come across this stellar psyche/drone/free noise/deathjazz comp previously... Featuring exclusive songs from CHARALAMBIDES, THE FLYING LUTTENBACHERS, PELT, LOREN MAZZACANE CONNORS, BARDO POND, as well as THE ARTHUR DOYLE ELECTRO-ACOUSTIC ENSEMBLE, Andy Gilmore, FINKBEINER, THE GOLDEN CALVES ESKIMO LIME BAND, BURLAP, JOE+N, NOD, MICK TURNER, SHEET, SQ, Karl Precoda/Mike Gangloff, and PENGO. Arthur Doyle Electro-Acoustic Ensemble starts off the disc with "Flue Song," a queasy flute melody delivered overtop what sounds to be field recordings of frogs with some spacey whoosh appearing throughout. Nice. Andy Gilmore follows with some pleasant string-bending ambient guitar abstraction, all subdued haze and hum with a strange voice sample appearing briefly halfway through, and ending with a chime-driven climax. Charalambides donate "Mansfield Dam", a minimal, glacially paced piece of abstract folk drift, not too far from their "Being As Is" material released on Crucial Blast, though it sounds strangely "digital", with the sporadically plucked acoustic strings being processed into little blips of melody that zip by via tape editing and masking. Eventually a minimal riff appears reminiscent of LOW and Charalambides "Home" and "Houston" CD, as Christina Carter's angelic voice loops in and climaxes the track with an absolutely GORGEOUS haze of droning bliss as her vocals become layered upon each other into infinity. Next up is FINKBEINER, with a dusty, cosmic drone-jam that straddles the line between sublime 70's sci-fi sound effect bleepery and Ennio Morricone style epics. Golden Calves Eskimo Live Band emerge from the shadow of TOWER RECORDINGS, with a brief duet between a roughly Jandekian acoustic guitar and what might be the weird recorded laughter of a battery-operated talking doll. Thoroughly creepy. The Flying Luttenbachers appear next with "Maximum Cruelty", a BORBETOMAGUS -esque blast of improvised-with-cues free-jazz-meets-death-metal splatter. Burlap 's "Coming Home" features a haunting, repetitive bass and guitar melody with wheezing electronics and shimmering blip noise. Pelt's track is recorded live and is more of their basic ethno-forgery drone sound, being a cavernous/ominous jam by an actual violin quartet, reminiscent of Sun City Girls collaboration with Eyvind Kang. Joe+n delivers some droning vinyl pops layered over ORGANUM -esque metallic shimmer. Loren Mazzacane Connors coaxes a dreamlike melody from gently reverbed guitar. Nod do their usual shambolic garage-rock, although "John Henry vs. The Smog Monster" infuses it with a country blues vocabulary, making it a wistful, vaguely Dixieland-sounding burst of free-rock stumble. Mick Turner of the Dirty Three follows and defies expectations with a rather wild cut-and-paste plunderphonic 'contemporary classical' type piece. Sheet is another Rochester-ite doing 'sheets' of noise. Kind of John Wiese-y, though with less "digital shock" and more on the "incendiary robo-drone" tip. SQ brings back the free-death-chaos with "After Being___So Long", an icy room-ambient piece with distant amp buzz, improvised cymbal splatter, and eternal feedback that mutates into shrieking skree collapse. Bardo Pond lumber through "Vagabond", a gnarly drone rock abrasion that sounds like SHELLAC drunk on cough syrup and stuck on a merry go round. Karl Precoda and Mike Gangloff team up for "Metal Shop", fusing field recordings of the aforementioned locale to a lower-register bowed-string drone. And Pengo end the disc with a jam called "New Loft Elevation 2001." At the raucous beginning, John Schoen's 'sound sources' create a feel more like To Live and Shave in L.A. than what one would expect from these guys, although it soon dissipates and out of the dust emerges a percussion-driven ethno-forgery jam with weird multi-tracked reed playing by Joe Tunis. The last few seconds are really great stuff, as the percussion groove morphs into a lurching electro-glitch groove. Overall, a superb diverse collection of drones, psyche-folk, free-noise, and deathjazz!


      Volcanic Tongue
      RELEASE: i don't think the dirt belongs to the grass
      Massive, genre-defining 3xCD set packaged in a DVD case with full-colour artwork and full colour card stock insert housed in a natural-colour cotton bag with single-colour ink stamp art/logo and featuring exclusive tracks from a gob-stopping selection of underground players orbiting the Carbon universe. Limited to 500 copies. Tracks from: Aaron Rosenblum, Andy Gilmore, Anla Courtis, Antony Milton, Asthmatic, Autumn In Halifax, Blood and Bone Orchestra, Blood Stereo, Carlos Giffoni, Carpentry, Caustic Solution, Chad Oliveiri, Chris Reeg, Cock ESP, Coffee, Craig Colorusso, Crawlspace, Crush The Junta, The Davenport Family, Dead Machines, Entente Cordiale, Foot and Mouth Disease, G55, Gastric Female Reflex, Heathen Prayers, Hilkka, Hinkley, Howard Stelzer, Irene Moon, Joe+N, John Charlton, Justice Yeldman, Keith Fullerton Whitman, Lunt, Mike Shiflet, Nancy Garcia, Neil Campbell, Pengo, Phroq, Pumice, Rainbeaux, Sindre Bjerga, Sindre Bjerga/Jan-M Iversen, Sq, Taiwan Deth, Taurpis Tula, The Body, The North Sea, Thurston Moore and Tinnitustimulus. Highly recommended.

      The Wire
      RELEASE: Carbon 10YR.Series BOXSET
      In order to mark ten years of consistent marginal agitation, the Rochester, New York based folk-format label Carbon Records released 10 specially commissioned CD-Rs every 36.5 days for the whole of 2004. 10 Yr. Series gathers all of these releases plus a bonus DVD-R in a handsome wood and metal box that stands as one of the most defiantly beautiful manifestations of home-made, non-corporate packaging to come out of the CD-R revolution to date. In a way, whats happening with CD-Rs right now parallels much of what has been going on in the bootleg scene for the past few decades, where a potent combination of subterfuge and love has birthed product of a quality that has far out-stripped the vision and capabilities of the official record labels, while dispensing with their legitimising stamp altogether.

      As well as setting an exemplary standard for would-be basement infidels, 10 Yr. Series provides a capsule overview of some of the most intriguing marriages of avant theory and punk-primitive modes currently orbiting the mainstream. Besides masterminding the whole Carbon Records project, Joe Tunis is a formidable guitarist and sound-thinker in his own right. Along with his activities as a member of the post-LAFMS aggro unit Pengo, he moonlights under the solo guise of Joe+N. Joe+N contribution to the box is Live At Christchurch, where Tunis plays guitar, pummels piano and tears chunks of feedback from thin air. Theres more than a hint of Loren Mazzacane in the subtle thrust of his playing, but theres a stubby majesty to the way that he wrestles with fuzzy single notes that is all his own. Blood Stereo, the UK-b ased duo of Dylan Nyoukis and Karen Constance, are represented by 30+ minutes of Hymn For The Crippled Mulatto, a phased fog of sick, toxic strobe that moves according to an intuitive structural logic that is supernaturally satisfying. Tom Carter of Charalambides hooks up with ex-Ash Castles On The Ghost Coast member Shawn McMillen for Colors For, a series of still, low-level improvisations that vibrate with a tense, apocalyptic air. Carters slide work is particularly hypnotic, the slightest flick of his wrist sending small buckles of metal straight up your spine. Eddie Flowers legendary Crawlspace unit cross lurching group sprawl with a weird flux of cut-up sound and comedy shorts on Melbourne Cabbage Ratio while Dead Machines, the duo of Wolf Eyes John Olson and Wooden Wand & The Vanishing Voices Tovah ORourke, navigate zero gravity with nothing but a pair of lead boots, some loose spools of tape and a huge grid of tactile electricity on Mystery Of The Fall Off Islands Part Two. There are also worthwhile sides from Ming (aka Campbell Kneale of Birchville Cat Motel), Andy Gilmore, Howard Stelzer And The Cherry Point, Coffee and Mike Shiflet. File this one alongside Revenants Albert Ayler box for a combined lesson in the best way to prime a counter-cultural time-bomb.. - David Keenan