Roger Kleier

The Night Has Many Hours

Innova 685


1) The Night Has Many Hours  4:22    

2) What is the Price of Iron? I      4:58

3) What is the Price of Iron? II     3:24

4) What is the Price of Iron? III    4:00

5) Knuckleduster               3:20

6) Deluge: Devil Take the Most 5:17

7) Interlude (So Long Shea)   0:57

8) Generator                      2:12

9) Anyway...                       4:40

10) Dark Matter                  5:28

11) Hyperplane                    6:30







This CD is the final third of a trilogy that includes my previous two releases "KlangenBang" and "Deep Night, Deep Autumn". The entire trilogy has been a while in the making, but, at last, here it is...


I have always enjoyed the works of fiction writers who have main characters that reappear in sequential novels, especially noir masters like Raymond Chandler, Walter Moseley, and William Gibson. For these three CDs, I have thought of my own guitar playing and the sound world it occupies as a "character" who shows up repeatedly in a myriad of musical situations, with each variation somehow related to the last one.


For the first part of the trilogy, "KlangenBang", my musical character dealt with concert performance, improvisation, and song form. In "Deep Night..." this character explored a dark world of electronic manipulations and sinister development. For this final episode, the guitar player character investigates the concept of variations in ambience. These ambiences might include those found in urban chaos, cold and icy winters, deserted alleyways, dark subway tunnels, rolling California hillsides, or even an occasional quiet pool of beauty...


In 2004, I composed "What is the Price of Iron?" for American cellist Joan Jeanrenaud, known for her tenure in the Kronos Quartet, who was assembling material for a solo concert program. I knew that Joan was adept at performing with electronic backing, and that she was an excellent improviser, so I wanted to incorporate both of these elements into the piece.


The electronic background of "Iron" is comprised of a combination of digitally altered and manipulated electric guitars and Joan playing cello, which I recorded while in I was in residence at Mills College in Oakland, California. The sound files were then manipulated with Ableton Live and Bias Peak, and then imported into Pro Tools for final shaping. I wanted to create a background that functioned in live performance like a virtual phantom collaboration, with plenty of space for a performer to improvise.


The title of the work is inspired by a Bertolt Brecht poem. This poem is a very wry and dark commentary of the German occupation of Czechoslovakia in 1938, which the Nazis wanted to possess for the nation's weapons-grade iron and steel manufacturing. I found this poem appropriate for my own country's imperial adventuring in Iraq and the Persian Gulf region.



Produced by Roger Kleier.

Mastered by Myles Boisen at The Headless Buddha Mastering Lab.

Supported in part by a grant from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

Innova director, design: Philip Blackburn.

Operations manager: Chris Campbell.   


Recorded at Master Element Studio, NYC. Engineered by Roger Kleier, except “What is the Price of Iron?”, which was engineered by Myles Boisen at Guerilla Recording in Oakland, CA, and mixed by RK at Master Element. Additional cello samples recorded at the CCM Recording Studios at Mills College, Oakland, engineered by Matt Volla. Software used for this recording include: Digidesign Pro Tools LE, Ableton Live, Bias Peak, and Wave Arts Plug-ins, all residing on Apple MacIntosh Computers.


Special thanks to: Annie, Joan, Philip Blackburn, and Rob Martino at Wave Arts.