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Artist
The Putney
12+ albums
ambientelectronicFax 49-69450464idmunder 2000 listeners
about
The Putney - a collaborative effort of Peter Kuhlmann - of the aliases Namlook, Syn, Air, Silence, and the obscure Electronic Music Center - and the largely unknown session musician Ludwig Rehberg, whose only known group project, excluding The Putney, was a short-lived ethno-electronica Taklamakan (he also performed on several German new wave records by bands such as Overdrive, Mixed Emotions and Frank Duval). The aural qualities of The Putney are diverse and regularly defy description. There were two self-titled records issued by this group, and both are subtly distinct from each other, whilst sharing a mutual free-form aesthetic (indubitably, the music was improvised, or at least partially). At the time of its release, it was unprecedented on the FAX label, and was in many ways ground-breaking (though underrated and forsaken to the vaults of electronica history). Many tracks lack a rhythmic edifice of any kind, and the structures are generally negligible. There are none of Namlook's layered ambient pads here. This is truly avant-garde material. Tunes like "Aeol's Harp" (which, in point of fact, is entirely devoid of "tunes" or any sort of patent melodies), which consists of a metallic harp-like instrument "plucked" almost arbitrarily, navigating across a crepuscular landscape of industrial echoes, monastic chanting and chiming bells. "Clockwork" is a minimalistic sound exploration, akin to 70's Krautrock pioneers such as Cluster and Conrad Schnitzler which gradually morp
