VARIOUS ARTISTS – Resonant Embers

Edition Sonoro

This compilation does not include a single line of explanation, nor it indicates a basic concept around which the artists involved have worked, and right now I’m not in the condition of surfing the web for clues. The names are known enough for the cognizant ones to keep the aerials up, though, and the record indeed delivers. Matt Waldron aka irr. app. (ext.) opens the show with a thunderous cross of ritualistic reminiscences constantly altered by buzzing accumulations and entrancing harmonics, a congregation of drunken whales attacked by amplified giant flies ending in sad decadence. John Grzinich – or jgrzinich if you will – places metallic tampering and inaccessible machinations in isolated faraway ambiences, a sonic frugality somehow exalted by the threatening reverberations of the environment where the event takes place. Ubeboet (Miguel Tolosa) daydreams of a better future, his painful harmonic superimpositions and poignant string fragments floating like sorrowful butterflies eliciting currents of deep spirituality and hopeless despair.

Colin Potter persuades us about the inevitable necessity of bells by extracting the essential juice of their metal and paralleling it with almost epic surges of willpower-annihilating chords, the whole thrown slightly off-centre by peculiar resonances that strengthen the muscle of the piece by rendering it more dissonant. Paul Bradley calls out a squad of guitar-elicited fireflies illuminating a cold evening with alluring pulsations and Fripp-ish brightness in what’s probably the most easy-to-memorize track of the album (which, oddly, recalls Djam Karet’s Suspension And Displacement), while Maile Colbert & Tellemake analyze the discoloration of vocal counterpoint and the androgynous essence of reappearance through a different routing of murmured discretion, sort of a re-embodiment of the evocative cycles heard in Akira Rabelais’ Spellewawerynsherde. Finally, Andrew Liles’ piano and electronics introduce a touching violin elegy which seems to represent an ode to the perpetuation of apprehension, yet it results as an angelic song.

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