We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.

(Bl​)​end User

by NNN Cook

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Daniel Martinez
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davidtheguide
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/
1.
Part I: Server Ghost; ADC=DAC 15:00
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2.
Part II: Corporeal Headquarters 15:03
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about

"In a city full of modest polymaths, St. Louis’ Nathan Cook is a multi-faceted artist in pursuit of heightened epiphanies through diverse mediums. Between heading the long-running next-level Close/Far tape label, pushing crisp graphic design work into the 2-D visual realms, experimenting with video art and sound installations, as well as operating in any number of musical collaborations (see: the Subotnick-techno of Lobster, the free-jazz spew of Heyoka, the horn-drone of Blemished Stone, et al.), Cook is an aesthete-drifter of the highest caliber. His prime vehicle for solo sound output over the years has been through his namesake N.N.N. Cook project, which has been manifested largely through a long series of interconnected ritualistic live performances. In these small-scale events, Cook employs multiple cheap tape-recorders, handheld percussive gestures, wild saxophone skree, small-motor elements and gut-blossoming oscillators, while playing the full dynamics of a given room’s architectural constraints. The stage is everywhere and nowhere for the man. (Bl)end User is a significant departure from these concerns, as he dons the new coat of the weary techno-futurist. The approach here is pure electronic lab-work of the highest order. The mood is distinctly dystopian, a soundtrack for a clouded future of embedded surveillance and data-as-currency. The effort doesn’t come across as computer music per se, more as a viscous pixelated syrup-mulch seeping into your inner ear. Is (Bl)end User intended as a soothing balm or a forecaster’s warning call?"

—Matthew Erickson (Bezoar Formations)


"Close/Far's Nathan "N.N.N." Cook steps out for a set of woozy Computer Music studies, working a fine, drifting lurch of decentralized pitch clusters..."

—Keith Fullerton Whitman

Cassette Gods review:
"This is our chance to take a swing at the franchise. At every graph point, switch the complexion, but not the expression. Connect the dots with a bee line and make the border move faster than the tourists. A gentle toggle is all it takes to broach the border’s wetter bylines. Install gutter bumpers to stall the high-speed cruisers hoping for a short hop across the bee line border. This will create a pathway to vaccination. Don’t ever forget that. Don’t ever forget that a costume may take on its owner’s characteristics. Last year, every little costume was hopping up and down yipping “Pick me! Pick me!” That is why this year, everything is pretty well nailed down and gagged.

The flexibility of the border enables us to bend the rules without getting caught. We are also free to choose whoever we want on our team. This is one way we can strengthen the franchise."

—Rick Weaver

credits

released November 30, 2019

Originally released on cassette by Bezoar Formations, 2013
Sound & music by NNN Cook
Artwork by Matt Erickson

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all rights reserved

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about

NNN Cook image

NNN Cook St. Louis, Missouri

Sound & visual artist. Concerned with proximity, psychodynamics, psychoacoustics, geometry, mysticism, identity, & the primeval.
Runs the Close/Far experimental music label. Select commissions include: Laumeier Sculpture Park, World Chess Hall of Fame, Contemporary Art Museum St. Louis, Radius (Chicago), High Concept Labs (Chicago), Experimental Sound Studios (Chicago), & Alarm Will Sound (NYC). ... more

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