Lawrence English / Werner Dafeldecker ~ Fathom Tides
Fathom Tides is an LP of incremental change. Best heard as a single, slowly-developing piece, the album reflects the pace of nature over that of humanity. The earth is in no hurry; the trees are not multi-tasking; the streams do have somewhere to go, but save for times of torrent, they are in no rush.
The album begins with a trickle of water, a rustle of wood, a suggestion of wind. One must…
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This second album from the Belgian violinist and composer introduces haunted shreds of voice. Unlike her more cerebral debut Picture a Frame, Chronotopia threads soft wordless lullabies among the plucking, gliding, thumping improvised string tones. It plays with time, as the title suggests, but also with memory and perception.
This is subtle, unobtrusive music, coming at you out of dead quiet and forcing you to lean in to catch it. The cascading violin notes of “Off Day On” swirl vertiginously but lightly; you might imagine that a mad, frantic orchestra plays several rooms away.
Drones build up like storm clouds in these looming, brooding pieces. “Night Bites” emerges out of a sustained hum of overtones, a sound that vibrates with inchoate possibility. After a bit, high murmurous vocals descant over the murk, a ghost light flickering in thick dusk. You feel, always, like you’re eavesdropping on something private, inward-looking and inscrutable.
“One Day” is the loveliest of these cuts, a mesh of birdsong and strummed notes and whispered vocals. It whirls in small circles of three-four time. It opens up like a night flower in the moonlight. It trembles on the verge of self-actualization. It is so very quiet, so very beautiful.
Maxine Funke came to mind in the eerie, expressionless vocals, and Rio En Medio in the cuts that incorporate field recordings. If Loren Connors played the violin rather than guitar, and sang soprano, it might sound a little bit like this. All of which is to say that Elisabeth Klinck operates in a blurry but evocative space where memories of mothers singing meets the rigorous architectures of experimental improv. Hushed, gorgeous and mysterious, this music. Check it out.
A compilation album is a tricky beast. Swiss record label Hallow Ground’s Epiphanies appropriately deploys the form to illustrate the hopelessly subjective nature of an epiphanic experience. The featured artists, many of whom have worked with Hallow Ground before, were each invited to contribute work created using a ‘non-rational compositional process’ which would approach the phenomenon of an…
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Entrevistamos a Lawrence English, artista ambient australiano y fundador del sello Room40, sobre «Observation of Breath», un disco compuesto en un órgano tubular del siglo XIX que es al mismo tiempo una meditación sobre el tiempo y la respiración, que sobre el propio instrumento.