In a rare period of prolific releasing we must take immediate advantage of David Lee Myers’ will to gift us with some more of his dispassionate searching for sound waves highlighting the core of the unspeakable.
On the other hand, having enjoyed the brilliant Superpositions (issued by Crónica a short while back) the writer’s repetitive verbosity could be justified in order to invite a potential audience to turn into an actual one. But, as it happens with every sober scientist, new exciting discoveries are inevitable. And, in all honesty, they’re still marvelous in their multiform dynamics and ever-changing radiation.
This time, the label’s introduction truly facilitates a deepening of the subject for the few unfortunate specimens who haven’t studied Myers as they should have. Just click the Starkland link to examine the composer’s resume, the extent of his vision, the technical prowess needed to transform regular circuits into an intricate network of internal asymmetry. And, last but not least, the imposing beauty of the machines that he designs and – luckily for us – puts to use.
In strictly musical terms – and without reductive interpretations – Ether Music represents a “best of Myers” of sorts showcasing a throng of configurations, refractions and implicit connections that might displace a novice. Each of the ten tracks constitutes a veritable study on the acoustic borders that separate inherent cognizance from sheer stupefaction. Everything that can be encompassed by a self-regulating mechanism emitting unusual resonances is right in front of your very ears. In Myers’ cosmos, what is perceived as blurred explicits lucidity; extreme speed is a means to enter states of quasi-stasis; unorthodox pulsations become second nature after mere minutes. Then again, not an instant of this substance is associable to bogus esoteric blah-blah. The sounds are as always eloquent and purifying, enhancing the developmental values of transition as opposed to the uselessness of ankle-deep certainty.
If you are a follower, there’s no necessity for me to go on. If you don’t understand what I’m talking about – idem. I’ll end with a personal question: is what I’m hearing in “Rigid And Fluid Bodies” an underwater sample of The Who’s “Baba O’Riley”, or an inchoate insanity is teasing the brain with absurd suggestions?
MASSIMO RICCI. TOUCHING EXTREMES. 