Pascal Savy returns with further deconstructions and the application of fairly mind bending physics and philosophies to composition (rhizome, phase differentiation and deterritorialization) – namely the use of erosion, decay, control (or lack of), connectivity & heterogeneity, tonal mutations and cross pollination to allow his works to organically grow with lives of their own.
The four tracks within are really rather lovely representations and interpretations of this processing style which include a kit and source list of: A couple of piano samples recorded in a disused Norfolk windmill (hang on… a piano…in a windmill?) plucked and bowed guitar, processed sine waves, FM synth, a self-oscillating analogue filter, a turntable, monome and handheld recorder with found sounds from a French church and Kew Gardens….nice!
Each of the pieces fizz with beautiful electronic reductionism as gentle piano and guitar work glue things together. The delicacy and depth of production is remarkable – high frequency sine wave manipulations result in stunningly melodic shimmering crystals of sound over low end hums and reverse audio techniques whilst angst-y crackles and shuffles add unnerving tension to it all.
There is an effortlessly organic feel to these compositions almost as if the machines and sound sources have been left overnight to work things out for themselves following a large dose of psilocybin. But really you and I know it is just the unique self taught production skills of Savy and mastering sheen of Taylor Dupree that has given these works the oblique energy and aural life you simply have to wrap your lug holes around. – Fluid Radio
These tracks are a travelogue mapping paths taken in Europe during the past year or so. Snapshots, based on improvisations drawing inspiration from the quieter moments of a nomadic life: a snowstorm in Helsinki, a hot September night in Berlin and a dusk in the Swiss countryside outside of Lucerne.
These six tracks were recorded during a week of seclusion in a house deep in the woods of Northern Ontario with portions recorded in a cabin in the Gatineau region of Quebec. The recordings include various sample sources including goats and birds in Switzerland, a choir featuring Kuepfer’s parents, and wolves from the Aspden Valley Wildlife Sanctuary near Rousseau, Ontario.