A sentence in the press release contains a pivotal clue. [Yann Novak’s] “work is guided by his interests in perception, context, movement, and the felt presence of direct experience”.
Direct experience is the prime counsellor in one’s aliveness, well beyond the hypocrisy of sinisterly inadequate “divine” guidelights. This simple fact should be obvious to any individual whose encephalon has not been rented to someone else’s infirmity. However, it is the concept of “felt presence” that is crucial here. As always we’re dealing with the essential, if inexplicable murmur of deep-rooted awareness which seems to frighten so many credulous specimens.
The stochastic recurrence of an event; the “infinite repeat” mode of the sea waves; the frequency that – among millions – causes the mind to freeze and the heart to slow down almost to a standstill. Just three examples of the aforementioned “felt presence”. How can anyone explain that to people in dire need of being lulled into psychological coma by recycled narratives about extramundane maths and featureless entities acting as impeccable draughtsmen of nothingness?
You can’t. There’s no time left to waste with neurologically induced nonsense. As frequently stressed on these pages, certain levels of inward discernment must be respected by their blessed owners (who, too often, throw away the gift received at birth for unhealthy ego-inflating purposes).
Novak chases the opportunity of a privileged observation between the varying stages of an actual process of growth. He does it by assembling resonant materials that put a pragmatic listener in the condition of probing unthinkable depths, in this case starting from a theory by ethnobotanist Terence McKenna (you are cordially invited to do your homework).
In strictly sonic terms this is an exemplary instance of static subtlety, intermittently (and coincidentally) reminiscent of Keith Berry and Klaus Wiese’s analogous sonorities. A commendable balance gradually revealing shrouded details, inaccessible elements of continuity linking the parts in an affecting sequence. The acoustic modules combine field recordings with subsurface oscillations, trans-harmonic cyclicalness, moderate interference and human samples. It’s the symbolization of a trek outside the body limits while standing – firmly conscious – on the ground of the circumjacent materiality.
A final and somewhat expectable warning: do not use, and do not categorize this substance as “ambient”. It would be an authentic offense to the composer’s painstaking accuracy in rendering the phases of apprehension clearly particularized by the audible matter. Paraphrasing the album’s title, Novak challenges the average being’s exigency to envision the “excuse of future” as a method to flee from the responsibilities of the present. In other words, the “here and now” of Buddhist descent – so voguish in places where the talk is talked without walking the walk – is still too troublesome a proposition for vanquishing corporeal and psychogenic obligations once and for all.