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Young and Wheeler - From Grimsby to Milan

Young and Wheeler FROM GRIMSBY TO MILAN Gayle Young - Amaranth & Columbine Robert Wheeler - EML ElectroComp 101 & Moog Theremin Recorded at Grant Avenue Studio, Hamilton, Ontario, Spring 2024 Engineered by Bob Doidge, assisted by Tyler Bruce Produced by William Blakeney Images by Reinhard Reitzenstein (Analog) & William Blakeney (Digital) All images licensed from Shutterstock, 2025 Animation by Hitesh Patel Thanks to  Anthony Kelly and David Stalling FARPOINT RECORDINGS, DUBLIN, IRELAND https://farpoint.bandcamp.com/ Publicist: Nick Storring farpoint.bandcamp.com At frst glance, the artistic pairing documented on From Grimsby to Milan might seem surprising. American synthesist Robert Wheeler is best known as either a descendant of Thomas Edison or a member of the foundational post-punk experimentalists Pere Ubu, taking up Allen Ravenstine's role behind the knobs starting with the group's 1995 release Raygun Suitcase. Canadian Gayle Young, meanwhile, tends to be associated with contemporary concert music, but her practice is far broader than that, encompassing sound art, improvisation, writing and building instruments of her own design. The underlying connection between Wheeler and Young, however, sheds more light on their collaboration. In June of 2008, the two performed as part of a live performance and recording of John Cage and Lejaren Hiller's HPSCHD at the Ontario College of Art & Design—a production that also included Casey Sokol (a founding member of the CCMC), Eve Egoyan, George Boski, Gregory Oh, Marc Couroux, Tania Gill, and electronic music pioneer Joel Chadabe. Young's Clavinet was processed by Wheeler through a Moog modular, and a lasting friendship was forged between them. On this recording, Gayle Young plays one of her numerous inventions, the Amaranth, a zither that features 21 steel strings and 3 double-bass strings and employs a mix of guitar tuning pegs and triangular wooden bridges for tuning. Young is a true vocabularian on this unique instrument, activating idiosyncratic microtonal scales through striking, bowing, plucking, strumming and scraping its strings. Her expansive lexicon makes her a perfect sparring partner for Wheeler's gritty analogue abstraction. The Electrocomp EML 101, Wheeler’s apparatus of choice, is widely known for its extensive palette. It may have a keyboard attached to it, but it seldom sounds that way in Wheeler's hands. Instead, its presence is much more chimeric, unleashing splashing metallic percussion, mufled motorized howls, furious electric chirps, and rubbery bursts of friction. Young's aforementioned spectrum of sonic possibility allows her to provide relevant organic contrasts to Wheeler’s gesture, present evocative commentary, and, perhaps most critically, lets her fuse efortlessly with Wheeler's vivid synthetic hues to generate peculiar and engrossing composite sonorities. From Grimsby to Milan is a vital and eccentric release, showcasing both artists' inventive and individualistic approach to music-making, while presenting an utterly singular acoustic-electronic instrumental pairing—one that defes the received wisdom surrounding this format.