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  • Streaming + Download

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  • Cassette + Digital Album

    B3 is now on home-dubbed, hand decorated tapes with original artwork. Tapes include digital download code as well. Limited edition of 10 tapes at $7. Shipping included.
    These tapes will be for sale at the Baby Grand Opera House in Wilmington, DE on May 3rd at the art exhibition "Anybody Home?" The amount left after the event will be updated here.

    Includes unlimited streaming of BIII via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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    edition of 10  7 remaining
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  • Full Digital Discography

    16
    releases

    Get all 16 Cody Robert Hook Bluett releases available on Bandcamp.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of A L I A S, ADRIFT, Mt. Misery, Night Trip, Flood Pattern, MONOPINE, Portal (BVI), H.@.u.$ B.e.@.+, and 8 more. , and , .

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1.
Ambient #1 08:05
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2.
Ambient #2 07:13
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3.
Ambient #3 08:04
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4.
Ambient #4 16:26
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5.
Ambient #5 07:27
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6.
Ambient #6 07:52
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7.
Ambient #7 07:51
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8.
Ambient #8 05:09
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9.
Ambient #9 04:39
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10.
Ambient #10 05:37
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about

It seems I am at an impasse. I have recently stumbled upon the questions that every artist despises because of its enormity and, seemingly, demand for attention. I would like to believe these questions are not particularly important, especially at the age of just 25 years old. But time does not stop and our human perception of it is ever accelerating into a blur and chaos. The constantly shifting and turning environment demands moments of solitude and stillness to balance the constant input with output; catch and release. The world is full of an infinite stream of information and content; an endless well. It seems there are too many options to choose. Too much content and not enough time for substance. This begs a shift in attention to decision. What does an artist choose to make and be aware of? Do they look to the past for reflection and realization? Do they attempt to predict the future with that reflection? Do they ignore both past and future and live solely in the moment of the present in order to slow down? Do they try and do all three at once?

The world we now live in cares only for endless answers to endless questions; there is no particularity given to us in our inherent need to ask “why?” Our environment once determined so much for us. We now exist in a totally nonphysical realm of constant communication and access to information. So should we ask the question about why so little questions are being asked to ourselves in the mirror rather than to the machines we make? With access to billions of images in a fraction of a second, why paint or draw images? With answers to billions of questions, why teach? With 3D printing and robotic manufacturing, why sculpt? With billions of sounds streaming through the internet, why make your own?

I think recently I have turned to the abstract and material experimentation in my painting because of its nonexistence anywhere else. Material abstraction is inherent to painting. So why blur the image with abstraction? It is possible the conversation between image and abstraction is one or the other winning in a battle. But I think it is more about how the image, in its constant manipulation and distribution and decomposition and accessibility, is still imbedded and moves through the slowness of perception and perspective. The human ability to at once curate but also accept the inevitable shift and change that resides in the human interaction. Specifically with landscape images, the human coexistence with a place through our empirical nature conflicts with our ability to understand it beyond humanity. We know the mountains and the sea and the trees are eternity, but also a fleeting and forgotten nothingness. Landscape is both everlasting and ever dying. At once infinite and finite because of our experience within its physicality. We define the image in its truest essence. The landscape painting is a symbol for space and so the materialization of these spaces enables its natural decay. Paintings are supposed to die and be forgotten. The landscape paintings are an extension of the self and the memories held, and so as people find their way beneath the ground the self decomposes, both physically and conceptually. I paint in order to establish memory. My hands have a better memory than my brain, and so by choosing to act more physically with my hands I strive to establish chapters in my books. To build a painting with oil and metal and wood is to choose a destiny of reincarnation, for both myself and the ideas. The white box will not protect it, only preserve it.

This album features compositions of two kinds, intermingled in a dialogue back and forth with each other. The first are new pieces focused on solitude and memory; a careful consideration for the sonic fields in which the digitally spacious tones flow in order to achieve a sense of oneness, both fulfilling internally and emptying externally. The second are old pieces once recorded to analog cassettes in an empty studio room, now resurrected and remastered to achieve a focus on the present through the lens of the past. This album strives to reconnect my visual fine arts practice with my sound experimentation and composition through paralleled approach in materials and construction.

B3 is contemporary landscape painting. Analog signal considered in a digital world.

credits

released July 4, 2018

All songs written, recorded, and produced by Cody Bluett

Artwork by Cody Bluett:
Tide #7, oil, wood finish, and plaster on wood panel, 12" x 30", 2017

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Cody Robert Hook Bluett Boston, Massachusetts

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