“Panic Structures” experimental music/noise compilation - Argali Records Netlabel - June 2017
AND THEN I WHIRLED AT THE SOUND OF Creative Exchange of Dallas - July 2014
Garage 4141 "Sound Of IT 3: Works In The Spirit Of John Cage" San Diego, CA 2012
Postcrypt Gallery "Bodies of Sound" Columbia University 2011
Silent Media "Stan Brakage Project" Taos, New Mexico 2010
textsound Issue 8 February 2010 "Machine Code"
Contemporary Urban Center "Under The Radar" London 2009
Asylum Gallery "Power: Grid & Shapes" Sacramento, Ca 2008 "Spectrum"
Mad Hatter's Review "Pressure Drop" Fall 2008
Gallery Sigvardson "Art and Culture Festival" Denmark 2008
Monkdogz Urban Art "The Next Tortured Genius" Chelsea, NY 2007 "Inner Jouney" (Available on CD Baby)
the acoustic blues remedy
"Listening to the CD The Acoustic Blues Remedy by Randy Thurman, reminds me of the Great Robert Johnson, with nothing but a guitar and his voice. Randy does a fine job of acoustic sounds on this cd, and his voice is hauntingly from the past."
Delta Frank Black, October 11, 2007 Delta Frank's Blues Blowtorch, WGLT Blues - Normal, IL
symphony #24 - Dance of the dragon
Properly heard, this album is best with a high quality headset so as not to confuse what is coming from the recording with what might be locally produced sounds and noises. The wide range of sound coming from this recording transgresses the boundaries of audible sound and challenges the listener’s ability to maintain the acute awareness required to listen to it.
Much of the source materials from this collage symphony were acquired by the composer through experiments with recording otherwise inaudible sounds from computer components and medical equipment. This secret musical life of machines is then amplified and manipulated to become a soundscape. There is an ever present white noise in this work which we would normally ignore if we listening to any other source but in Thurman’s work this background sound is a part of the symphony’s texture and only occasionally, at appropriate moments, true silence is established as if they were tiny highlights revealing the white gessoed surface of a painting that has otherwise been completely covered with texture, stains and surface treatments. At other times this white noise swells up into sounds akin to a waterfall or the overwhelming sound one might hear from the enormous engines in the bowels of an ocean liner.
Other elements that can be heard include guitar or bass guitar samplings, probably from Thurman’s prolific recordings of his guitar work and also some elements of violin and possibly a banjo. There are a variety of other recorded somethings. In one case the sinister sound of electronic laughing or sounds that remind one of a cockoo clock. At a certain point one becomes aware of other complex sound textures buried in the background sounds of the recording similar to radio sounds that might get picked up through a filling in your tooth.
The overall feeling that one gets from the work is a kind of macabre on the one hand and a frightening sublimity on the other. Among composers who use collage as a construction process in their sound works there is a certain fearless exploration of the gathered materials that works outside of the kind of intentional emotional shaping that goes on in fully self expressive works that are built note by note on paper. Thus, the resultant finished work using a sound collage technique seeks more to discover what is beyond the human imagination.
-- Cecil Touchon
(Ontological Museum; International Museum of Collage, Assemblage & Construction; International Post-Dogmatist Group; International Society of Assemblage & Collage Artists; http://cecil.touchon.com/)