Lovingly reel-to-reel mastered by Ian Hawgood, the album unspools its vintage heart from an audiocassette presented in craft paper and letter-pressed cover designed by Giacomo Vianello and realized by Marco Brunello at Cartiera Clandestina. Coming with dried brambles in a small pergamino paper bag. Hand numbered envelopes.
“Sleet” is a pastoral fable with a resolutely vulnerable core – a ’60s folk narrative echoing through modern classical and ambient music. Enrico Coniglio evokes the cadenced ghosts of My Home, Sinking with the aid of Natalia Drepina, Katie English, Peter Gallo, Piero Bittolo Bon and Giovanni Natoli.
The fading Morriconian memories of “Sleet” evolve through a languid structured homage to Italian songwriters, embellished by weaving flute, cello, vibraphone, duduk and drums, like a prayer for human tragedy to a deaf and distant cosmos. The story of a young virgin woman and a miraculous gift is reinterpreted amongst the cobwebs of fragmentary mellotron, orchestral samples, pads of noises and manipulated field recordings.
Darren Ho’s latest trip down the rabbit hole is a baroque maze lit with neon lights. Machine music for The Blue Danube. Piano, harpsichord and synthesis all set adrift, levitating into minimal jewels of sound.
Pro-duplication and imprinting with full color double sided j-cards. Limited edition of 100 on chrome tape…Prune by Coppice is a 30-minute composition for tape studying foundation reduction, threshold permutation, mercurial residue, and compression techniques. Recorded in Chicago in late 2010 using pump organ, fire bellows, push-pump organ, samples, and electronic processing.
Side B includes two new works from N.N.N. Cook. Wu Wei I: Repose features the texture of select materials arranged in order to accentuate the color of each while inducing horizontal and vertical spatial movement. Material (and non-material) sources include: baoding balls, brass censer, feedback, porcelain vase, tape, voice, wine glass, and wooden flute. Wu Wei II: Impulse is the first 18 minutes excerpted from a 40-minute improvisation on electric organ. The meditative state involved in the creation/listening process and the immersive quality of engaging in the perception of the beats, overtones, and shading are its focus.
Anthropological audiophiles feared that all forms of smouldered geometric sound magic had died away when Europeans reached far in to the desert wilderness of western America. Although this sand based kahuna was never officially outlawed, the decline of native culture saw many forms of sonic sorcery die out as the acoustic conjurers were unable to pass on their wisdom to new aural apprentices.
Perfect for the wintertime, Alicia Merz’ Birds of Passage project comes from another world, separate from our own. This is an world similar to ours, but everything is just slightly off. A constant overcast sky, filled with birds drifting through these skies leaving long trails of gold and blue ribbons. It’s a fantastic and ethereal plane.