Under a name deriving from the idioms of seafarers hides a recently launched label curated by cellist Theresa Wong. Its first release is an enchanting LP gathering three major names connected in various ways to the concepts of sound-related awareness originally theorized by the late Pauline Oliveros. With a palette including Fullman’s world-famous long string instrument and a handful of wind and percussion instruments processed to the point of a veritable identity loss by Gamper (who left this planet in 2011, two years after this recording), we’re in for a classic program of extended droning passages and unhurried improvisations imbued with a considerable degree of sinlessness.
Vast resonant spaces are a must for this type of performance; the same is valid for the listeners, who will definitely benefit from a large room to let the waves diffuse and refract. Psychological dimensions are crossed through textural stratifications that mix ever-shifting shapes and fluctuating electronic mantras rather uniquely. Dempster’s trombone and didgeridoo – twice appearing in a duet with Fullman’s rubbed strings – inevitably push our memory back to the times of masterpieces such as Underground Overlays From The Cistern Chapel. The luminescent micro-universes generated by all these interactions project the consciousness of potential alternatives to the current state of things. An acoustic self-government, at once informed by inner tranquillity and healthy realism.