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Abstract Exhibitionism Volume One
Gwilly Edmondez ~ Gwilly the Very Good Musician (sec) ~ Abstract Exhibitionism ~ Vol.1 ~ With All Writing On the Cover ~ Version 1 Version ~ And Shit ~
Actual Title: ABSTRACT EXHIBITIONISM VOL.1
Was recorded by hand/hand position in 2001, April in Kakutopia-France (hence all that French shit) over an extended period of several days, including a grouping together of more than a week. The whole thinking in front of this albo was to prove that, in order to be a recording artist, you didn't need to splash out hundreds of pounds on it. All you needed was to be a bloke or a woman, and be in hand-position with your shit. OK, so I flush a lot of bogues along the way - I piss a lot, like you - but that was to prove above and beyond that I never stopped, not even for a moment, the process by which a proper artist carves his gapor. No Fancy Tricks were employed here - just one man and his shit. Do you know what I'm saying?
Gwilly Edmondez (Improvizuh) - Lead Guitar and Vocals
Occasional companions: Tony Gage, Luno EdLandez, Serge Neri, Cécile Lindfors, Gabelli & Esther Sobin, Bruce (!) Lee & Skip Undo. Aces high:~ All the above, Stu & Marie, for real, (at the time of writing I still owe Marie 25 quid for helping me shit through that nonsense at the City Screen), Ian Watson and Richard Bowers for what is to come. Bruco because of all that Kaspar/Sarah shit he's got going on. Word is Bone, 20001 Kid, checkit, negga.
Recorded by Gwilly Edmondez April 2001
Originally released on Kakutopia's now deleted Unsound Automatic imprint (UACD030) in 2001, Abstract Exhibitionism Volume One was Gwilly's first attempt to use the dictaphone and voice to extend to the notion of 'album as form,' intended to be consumed as a whole, rather than as individual songs. Thus, THF Drenching calling it 'the closest thing we have to a Lumpy Gravy of our times,' was the greatest compliment.
In terms of its content, the album deals in the disintegration of composerly endeavour and performance practice, seeking to make ordinary encounter as art-worthy as possible, while disavowing a sense of magnanimous inclusivity in favour of a monstrously egotistic claiming of the 'found' and incidental for oneself. The music recasts the megalomania of the rock star as stand-alone material to make a music that undermines commercial credibility.
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