Fergus Kelly: speaker feedback, no-input mixing board, DIY electronics, amplified metals, field recordings, processing.
Add to the above instrumentation a quick glance at this link and you will need no explanation whatsoever about how this marvelous record was conceived and performed.
Eight tracks that drone, buzz, rattle, quake and hum like the good times where there was still a word behind this category of proposal: research. Unquestionably, Kelly did a lot of that, adding to the process a pair of discriminating ears. There’s a profusion of harmonic substance in A Congregation Of Vapours that satisfies the ear in near-carnal fashion. I believe that no better way of receiving the goods from this CD exists than enjoying it via top-class dynamic headphones, for there are camouflaged nuances and tremendous underground plunges inside the vibrational matter which demand superior means to be authentically received in the physical manner that should peculiarize this brand of inner education.
The agile exercising of the single components in the audible fabric – in conjunction with a cyclical sense of wholeness in the compositional formation – pushed me to return to the disc over and over during a week’s span. Each time I ended with having nothing to communicate in writing, yet highly delighted. When that happens, it is commonly an encouraging sign – except for the fact that my conviction of the impossibility of conveying words to depict the unequivocal corporeal consequences of certain sounds is by now total.
Without actual similarities, let me just recommend this release to those who support artists such as Jim Haynes, Seth Nehil, Olivia Block, Jgrzinich, Mnortham, Jonathan Coleclough. It’s definitely one of the best works treading the “repeat and reprocess” path that I’ve heard of late, evocatively palpitating and forbiddingly solitary at once. Practically flawless.