man and the echo

by Chris Rainier

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    also available to download are various digital documents that inspired the creation of this album, as well as studio shots and images that had to be left out of the final album design!

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  • Full Digital Discography

    Get all 5 Chris Rainier releases available on Bandcamp.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of man and the echo, the mechanical eye, heavy metal, oscillator/modulator - live at's cathedral, and the humming of wires. , and , .

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  • Limited edition 12" deluxe coloured vinyl [180g]
    Record/Vinyl + Digital Album

    the album "man and the echo" on beautiful 180g deluxe coloured vinyl, in a limited edition of 250 copies.

    your purchase can also include a cd-r of the album, but please make sure to request one in the message field if you require one!

    Includes unlimited streaming of man and the echo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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chris rainier

weissenborn, preparations, tape echo, loops, e-bow, cello bow
synth engine pedal on track 4
handclaps and darbuka on track 6

adam casey

zither through a fuzzbox on track 5
bowed banjo and singing saw on track 10

nat grant

percussion through a granular delay on track 3
longwave radio on track 5
percussion on tracks 8 and 10

recorded by adam casey at the true vine, melbourne
mixed by adam casey and chris rainier
mastered by adam dempsey at deluxe mastering, melbourne
album design by tess e mckenzie and chris rainier
layout by george munn
cover image taken from 'aku aku' by thor heyerdahl copyright
© gyldenhal norsk forlag AS 1957 gyldenhal literatur
used by permission
weissenborn style 1 by tony francis, aotearoa

track 5 makes reference to 'lei i ka mokihana'
by henry wilfred waia'u © 1925

all weissenborn parts performed live with no overdubs,
except on track 6

special thanks to red panda pedals / curt malouin, elisa bryant, peter hatzipavlis and matthew stanton

in memory of elspeth jack [1941-2010]


released October 14, 2014

in 2011 i received one of my most prized possessions: a replica of a 1927 weissenborn style 1 hourglass lap steel guitar, made for me by master luthier tony francis in aotearoa / new zealand.

i spent over a year exploring this amazing instrument's capabilities and potential, experimenting with tunings, unorthodox musical styles, and various preparations on and between the strings. I approached the instrument from what was hopefully a unique creative perspective, looking for new sounds, techniques and emotional landscapes. This was all done to try and make this record something different, multi-faceted and engaging.

the conceptualisation and recording process developed into one which came to include various other sonic elements such as tape echo / tape looping [which became cornerstones of the project], percussion and other instrumental oddities [thanks to the contributions of nat grant and adam casey].

i don't believe that a weissenborn has ever been heard like this before, and that this album genuinely explores the multiplicity of sonic possibilities available within the instrument.

nine of the ten tracks on the album were all worked out / improvised on the day of recording, and everything on the weissenborn was done live in the moment [again, except for one track!], including choices of preparations, integration of looped parts and even tunings which were sometimes invented on the spot.

the music conceptually explores various themes and events using the notions of "the island" as a central idea: the endless loop of existence in isolation, exotic faraway paradises, shipwrecks and artificial societies, the individual as emotional island, utopias and collapse, nostalgia, lost cultural icons, dancing mania and even haitian dictators.

three days of actual recording ended up being spread out over almost a year because of financial considerations, conflicting schedules and my creative re-assessments, followed by almost a week of mixing [cutting down over 3 hours of material to 40 minutes!] and finally mastering at deluxe nastering in march of 2014.

i am extremely proud of this record and how it has turned out: in the quality of the recording, mixing and mastering [thanks to adam casey and adam dempsey], as well as the gracious permission offered by thor heyerdahl's estate [he of kon-tiki fame] to allow me to use one of his beautiful photographs for the album cover.



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Chris Rainier London, UK

lap steel player, improviser/composer, visual artist

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