Get Shorty (May 2012)

CORNSTAR – Lulla

The duo of John Latartara and Khristian Weeks, Cornstar emit cute signals from worlds where (almost) all corners appear to be rounded. In Lulla they blend a charmingly lightweight electronica with acoustic guitars and piano employed for undersized remains of melody and harmonizing textures. The resulting 35 minutes keep warm and pleasurable company if you don’t expect marvels to pop out your eyes at. Gentle digital ruptures, computerized grace, malleable liquidness, decent alteration, splintered looping: it’s all there, and it’s pretty much well made. Discreetly soothing risk-free music for late evenings. (Visceral Media)

CELER – All At Once Is What Eternity Is

Strings, samples and field recordings are the sources for this 3-inch by Celer. The soundscape stands nearer to the duo’s earlier work, with extensive washes of colossal loops ebbing and flowing without excessive changes. The layering of fixed tones and the resulting amassment of frequencies warrant an embracingly dramatic mood, interrupted every once in a while by a slight divergence towards the more concrete aspects of found sounds, and – around the fourteenth minute – by someone whispering (in Japanese?). Good one, even if not belonging among my very favorites by Will and Dani Long. (Taâlem)

VOICE OF EYE – Primaera

The husband and wife duo of Bonnie McNairn and Jim Wilson – remember Esoterica Landscape 7? – extracts implausible sonorities from who knows where, halfway through drugged seagulls and weird wind instruments (actually they build some of them). VOE situate those disturbing utterances right in the middle of a warren of stretched reverberations, ill-omened oscillations and what sounds like the synthetic warping of an already misrepresented veracity. The result is an excellent 18-minute piece, totally impulsive and brightly unpredictable in its absolute lack of comparable evidences; one that deserved four listens this afternoon. (Taâlem)

CHRISTOPHER MCFALL & ASHER – An Amber Hollowed Night

Collaboration between two masters of the respective games, sharing several traits in their methods of concocting suggestive sounds. Isolation, nocturnal settings, remote urban ambiences, a tendency to completely discard cuteness in favour of faraway rumbles accompanied by strange presences and unbalanced reception of signals. The use of what McFall calls “treated tape” adds further layers of organic decay, whereas Asher’s trademark shortwave/white noise-ish emissions define the essential (in)stability of the piece. Echoes of forlorn places, voices that are not really voices but alarming apparitions. The room is filled with black clouds, yet there are faint traces of light somewhere. For 24 minutes we forget practically everything, and start brooding on existential prospects looking even bleaker than expected. (Taâlem)

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