Ian Nyquist: all sounds, composition
When your name corresponds to that of a famed frequency, failure in the aural field is not an option. Seriously, though: the mystery surrounding Dublin-based Ian Nyquist will soon dissolve, should his future works retain the same qualities revealed by Variations. Nyquist gathered sounds whose inborn resonant features constitute the foundation of materials which – once transubstantiated by the studio treatment – are capable of eliciting a significant concurrence of doubt and flashback. Ten tracks constructed on rather fluid sonic conditions, employing actual instruments and looped/stretched reverberations (of objects, environments, taped voices and alternative sources, also taken from the web) to produce a metamorphic variety of reverie, with rare acrid veins and an implicit sorrowful feel.
Although one may be enticed in the usual (and frequently useless) game of comparisons that the mind suggests, the hunch is that Nyquist is a man on a strictly individual quest for something special. “Freeform” and “Feldman’s Angel” are emblematic: unfathomable yet touchingly evocative, the disclosure of an involving experience in small stages. When a superior class of impure resounding substance is exploited at the maximum level of a composer’s reactivity, the outcome can’t betray the ears. If you’re into mesmeric settings with real depth, and like to daydream in nebulous harmony enhanced by organic matters, place this extremely focused soundscaper under close surveillance.