Just me, here's some nice things that have been written about my music:
“229, 294, 306, 337” is an analogue adventure with the occasional low-fi excursion signed Ian Baxter. There are seven tracks in a very “French” setting, guitar based electronic music as it was once defined by ADIM from France and maybe especially by Melodium their brightest shining star. But, Ian Baxter probably states it better himself if not remarkably much more concise than I managed to do: “A piece in seven parts based on tones made from a beer bottle, guitars and electronics”. It's an interesting listening experience and a fine October Man Recordings release.
Review of 229,294,306,337 from electronic desert
"Now IAN BAXTER 's 229,294, 306, 337 on Octoberman limited to 30. Now this is the sort of album your boyfriend will put on for you when you've got PMT when all you really feel is Lightening Bolt . Its an atmospheric journey through guitar harmonics and looping stuttering pluckings. It says on the label that beer bottles are used as an instrument and it sounds like young Ian's had a few, but his salvation is that he's picked some very relaxing sounds to clash against each other creating quite a lovely peaceful pot of stuff."
Review of 229, 294, 306, 337 on Norman Records
"Ian's own contribution - 'U-238' - is taken from the two-track Uranium EP , and is a guitar-based Eno-esque slice of ambience. According to the site blurb, it's built up from loops, but if this is the case they're used to create a delicately shifting patina of non-repeats - sort of like Feldman - so that you know that what happens next will come from quite a small pool of possible events, but you're never completely sure what it will be. Like Music for Airports there's just enough of this in-built expectation to engage the mind, but never so much that you have to really work at it. Unlike Music for Airports , these are tangibly acoustic instruments - you can hear the scraping of fingernails on guitar strings - which brings an additional level of engagement - if you want to listen for it. In an analogy that I'm sure Ian will appreciate, it's like watching a session of test cricket after a boozy Sunday lunch, and all the better for it."
The Rambler Blog http://johnsons-rambler.blogspot.com
"Ian Baxter goes for the drone in his first contribution; the minimal and hypnotic “SK and VL”. It would be interesting to hear this on the big sound with proper channel separation although it probably takes both its (wo)man and sound system to play it back...The tenth and last track “Nice New Chord” by Ian Baxter settles slowly as the sounds of a gently treated stringed instrument fade away and thereby conclude the compilation."
Review of the Afterglow Compilation on www.electronicdesert.com
"Loops of minimal guitar that are good in a lulling sort of way"
Review of Uranium EP in Sandman Magazine
Etkilendikleri
(in no particular order) Brian Eno, Henry David Thoreau, Morton Feldman, John Cage, David Tudor, Steve Reich, La Monte Young, Hugh Davies, Harry Partch, John Coltrane, Max Eastley, Miles Davis, Jim O'Rourke...
I currently live in Sheffield. I have been composing and recording since childhood, making collages of guitar with my Amiga 500 and sampler and overdubbing by linking 2 tape decks together. This became serious around 1999, when I got a 4-track recorder and started to produce cassettes of music in a post-rock vein (under the influence of Mogwai and David Pajo's M projects). This progressed to an interest in experimental composition around 2001 when I was blown away by Brian Eno and his ambient experiments (particularly Discreet Music and Music for Airports). Picking up on his influences led me to a whole world of experimental music, including Cage, Feldman, Reich, Young and others which shifted my musical interests away from traditional rock instrumentation and towards creating gradually changing soundscapes made with sound materials mostly assembled and manipulated in the studio.
Whilst my earlier pieces almost exclusively went for straight forward instrumental sources such as guitars, trumpet and other acoustic instruments but I increasingly find myself turning to other sources such as field recordings and electronics. I don't associate myself with electronica, despite using a computer for the majority of my work. I see my relationship to electronics in the tradition of what Thom Holmes has called "Soldering Composers", building my own equipment such as oscillators and effects devices that hark back to an era when composers such as David Tudor got their hands dirty with wires and circuits. I have also made several 'circuit bent' instruments, where battery powered toys are deliberately short circuited to create a variety of noises.
I often begin with some kind of framework, deriving tones by chance, exploring a certain tuning or a chord progression for example. In this respect I see my work as composed rather than improvised. In reality, my method is somewhere between the two with a lot of ear led improvisation with equipment and the way sounds are recorded and treated. I have used experimental to describe my music after Cage’s definition – that is, composing music where the outcome is not necessarily foreseen.
I have released a series of CDr albums through my own Quiet Records and other labels. Individual pieces have been included on various compilations (Munkyfest samplers, Brighton’s ‘Slightly Off Kilter’ zine, The Adventures compilation from GHOSTS and Octoberman’s ‘Senstive to Light’). I have enjoyed collaborations with other artists, supplying the music for a film 'Return to 92' shown at the Germs 2003 festival, dancer Airelise has used my piece 'low pulses' for her piece Third Life. I occasionally make it outside he confines of the studio and have performed several sets of improvisation with guitar and various and temperamental bits of electronic equipment. I have also begun to explore installation work, putting together a work called ‘Playing the Weather’ at BLOC gallery in Sheffield.
Always keen to swap CDrs with like minded composers just drop me a line.
MORSURE SOUFFLE 5 tracks electroacoustic/musique concrète album. click on the cover to download the full records in a .zip released by Test tube. cdr version on Mitenand. music under CC by-nc-nd, copy & share it, thanks
captain baxter. the was the ole you know what after the gig? listen man one of you needs to update an sort out the yells profile on last. fm! seriously dude do yourselves a favour an get on it!!!
thank you so much for comeing in for a meal man, was fucking ace serving you! the job would'av been great if i'd av done that like once a week. thankyou.
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