A.F. Jones, Derek Rogers: all sounds, composition
Alan Jones’ first CD Rearward Through Forgottenness was brilliant, whereas I don’t seem to remember having met Derek Rogers’ efforts before. Jason Lescalleet is a serious man: not only for what I have gathered from his own albums, but all the more so following my discovery of him as a fellow boxing devotee (just kidding – but no, I’m not). Ultimately I consider Lescalleet’s Glistening Examples a label with the potential of producing acoustic artifacts with excellent staying power.
This record consists of four tracks grounded on two fundamental types of terrain, oscillating between, say, “soft doom” and “tentative education of semi-harmonic distortion”. In “Repetend / Mistones” we even detect something of a pseudo-melodic content under a thick layer of low-frequency dronage. “Ferrograft” is a subtly violent episode, abrupt changes and instability all over the place amid the general roughness; the brain works pretty hard to coordinate the masses of contrasting sways, but I felt comfortable while enjoying the ride (which ends with location recordings of uncertain origin and mysterious voices; a jet’s gradually fading roar is also heard). Then the ears get clogged for good in “Tedium Betided” (here comes that tendency to cantabile again; still, Jones & Rogers aren’t going to crash any top 40 with this), especially when the bulk of the subsonic component expands its girth and an ascent to nowhere appears imminent at the end. “Parallax” is perhaps the point where things get a little too regular (so to speak), analog synth-like sonorities depicting trajectories that can be observed in total relaxation.
All in all, a charming enough outing with few authentically innovative traits. But for sure we’re on a much superior level than your average “experimental” release dispatched as work of genius, and ineluctably forgotten after a weekend.