involves: bells, cello, violin, cymbals, glockenspiel, melodica, tambourine,
bass drum, acoustic & electric guitars (w/ pedal’d aide of: tremolo, (subtle)
distortion, & phaser)
I’m seriously considering teaching the gooey art of graphic design to 4th
&5th graders during summer school this year, & I feel like
this tape would make a great soundtrack to use for whenever I want to talk
about the principles of texture & focus, and how they are related to timing
& groove.
Side one is an incremental crawl across five tracks, beginning with
organic, muddy, ritual drones in the forest, then slowly becoming mechanized,
colder, yet freer, and finally ending in star-heated, intergalactic ambient
transmissions & echolocations. The five stages, though each differing in
How they were made, carry with them the constant theme of juuuuust harmonious,
but not quite tonal, which sure as shit does not happen by accident.
Side two is a re-release of last year’s “Indoor Derivatives” 20 minute,
formerly “digital-only” release, and though not quite as (inter)stellarly
cohesive in its scope (ha!), it certainly can stand on its own. The deftly
balanced ratio of tonal & atonal is obliterated right off the bat, with
layers and layers of discordantly bowed strings and cymbals, each screeching
for the ear’s attention (I count two to three per channel, but keep getting
lost) in slow motion. This grandiose resetting allows for the other three
tracks to breathe on their own, as unique, independent beasts…as beastly as
organic drone tracks go, anyways.
Great with and without headphones. Strongly recommended if you’re
looking for a more minimal, ambient bridge between Pelt and Hear Hums.
and/or
-- Jacob
An Kittenplan