Aural Terrains

By disregarding any potential concern for manifestations that might be loosely associated to a notion of “tonality” (or just consonance), Chrysakis (laptop, electronics, rototom), Matthews (digital synthesis, field recordings) and Bernal-Villegas (percussion) gave origin to six very interesting and uniquely sounding improvisations. The kind of interaction that one gladly listens to, immediately appreciating hues, noises and impressions elicited, without finding words to pigeonhole the result. Which, of course, is great.

The shapes generated by the instrumentation are heterodox and with a tendency to the disintegration of compactness; all are characterized by timbral qualities that make them aurally attractive under many points of view. The mixture of computerized and synthesized emissions works perfectly, remaining halfway through piercing-and-stinging, sweltering and steamily chaotic; unpredictable discharges that replenish vacuums and suggest combustibility. The percussive designs – which, in a way, dominate some of the hypermodern vistas offered by the trio – are informed by a welcome non-invasiveness despite an obvious fractal temperament. It’s beautiful to hear the sound of a real drum skin amidst bubbles, sizzles and hisses, and also noteworthy is the musicians’ ability of letting decipherable human echoes (aircrafts, old records) mix seamlessly with the most erratic electronic activities. The resulting concoction, as heard in “II”, represents the ideal fusion of diverse sonic universes, revealing both the artists’ sensibility in manipulating machines differently and their finely tuned ears towards what surrounds them.

A satisfying release, defined by atypically stimulating sonorities, which deserves the worn-out compliment: “rewards repeated spins”.

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