Admit it: most instrumentalists, in the seclusion of a bedroom, fantasize at some point that someone is attentively listening to, maybe even hailing them. Relinquishing this state of mind when one elects to pursue the path of Sound is not that easy. However, guitarist Drew Wesely, cellist Lester St. Louis and percussionist Carlo Costa already know how to discern what’s truly valuable in the improvisational realm. Ideologically speaking, Hypersurface was born in an apartment’s room, whereas the music presented here was recorded in a warehouse. Both settings convey a sense of “productive creative isolation”, as well as strengthening the hypothesis of spontaneous timbral generation that appears to be central to the trio’s output.
Over the course of five tracks, varying in length from less than three minutes to nineteen-plus, we observe a number of unhurried metamorphoses of electroacoustic substances. Employing the slightest overtones of the textural array at their disposal, the players superimpose instances of micro-sonic energy, modulated feedback, unobtrusive resonance and the simultaneous flow of all components into non-permanent droning coherence.
Throughout this procedure the air remains pure and totally breathable. The brain identifies dozens of subtle variants, intuitively ranking them in the archive of the useful. Only after repeated playbacks you may begin to sniff a vague recollection of what was unconsciously absorbed until that moment. In no way is there any tendency to the promotion of the self, each instrumental voice aimed at communal coalescence rather than individualistic emancipation. This album is a prime illustration of what the artists identify as “resonant telepathic communion/language without concepts“. Those who have ears to hear, let them hear.