Prime is a long-playing record written and recorded by the band Conveyor and released by Gold Robot Records in 2014. The urge to elaborate on this opening statement and use this space to explain oneself is overwhelming and anxiety-inducing. The objective reality is that the only thing to explain is one's self, and the only audience for such an explanation is oneself. So what can be said, then, about a record, in many ways the distillation of a self (or a group of selves) that is intended to be consumed by an audience of others? Or, I mean, what can be said about this record? If we can say that to define an object is to define its relationship to the objects around it, placing it in a network of singularities that together approach a reality, carving it out of a sort of negative space, then here is an approximate definition of this record via the placement of the objects (viz., beings, or: people) that surround it:
The music on this record is music that was composed and performed alongside two midnight screenings of George Lucas' THX 1138 (1971) on 13 and 14 December 2013 at Nitehawk Cinema (N.C.) in Brooklyn, NY. These events were facilitated by Mason Rader (later John Woods), projectionist Andy Baratta, among other N.C. staff, and Ben Wygonik.
This record, as written, performed, and produced by Timothy Masters, Michael Pedron, Evan Garfield, G. Alan Busch, and Doug Fischer, was captured live on 3 January 2014 at the Silent Barn in Brooklyn, NY by Julian Fader and Carlos Hernandez, collectively Gravesend Recordings. One additional session of trombone overdubs took place at Doug Fischer's apartment and was recorded by D. Fischer. One additional session of vocal overdubs was recorded by G.A.B. and T. Masters. There is one piece of this music that belongs to Charles “Buddy Holly” Holley and is presented here in a facsimile version with deference to its original author. The recordings were mastered by Nick Carden. The artwork on the LP is the score of the music therein as interpreted by Hunter Mack.
Other elements of the two December performances such as lighting effects, costumes, and set design are not represented here, and so this record should not be taken as a permutation of either of those two events but as a discrete object in and of itself. It is discontinuous from these and other objects, yet if it were employed concomitantly with them it would accurately effect the December events. Prime comes at an odd time in the lives of those who have participated in its construction and occupies a borderline frustrating amount of space, and yet as a concept it remains inviolable and pure, denoting a way forward which we have no choice but to pursue.