Six Weeks Were Too Long To Wait
Music entirely characteristed by compressed urgency has formed the backbone of West African-extrapolated, now Western world music, commingling into a steamy hotpot that sometimes goes off the boil of interest. Electroacoustic music, though, unforks form and function, always containing an element of computerised glitch as an extension of experimentalism. Drawing Virtual Gardens (DVG) extend here their own compressed and electro-acoustic experiments to create foamy fractals in the vein of modern classical label Erased Tapes, like a bathtub filled with intermingling salts and seasonings, pushed over the edge of po-faced-ness and cracking smiles against the glass.
The very varicose vein soothing styles of this LP explains electroacoustic music as much related to ebm – electronic body music, often completely pigeonholed as goth – and electronic music in general. The coexisting narrative of somatic responses over pragmatic circumspect of wider tempo: a to-fro, and a heaviosity, if you will, takes the form of coagulated pumps in the pulse, which exist slightly outside of regular metre, time/space shifted into a comparable stew of instrumental sieve-wringing. Of course, it’s not strange in modern music matters to have another electron-nocturne collection, especially from members of ToC. ‘Demography Of Data’, rev on Fluid previously however pinned itself closer to the softness of tonal release drone, a minimalist self-sufficient melody that refracted on itself in pattern recognition.
The arrangement patterns on this particular album, deal with that fractal nature to a point of bold disclosure. Pianosflutter in fragile feelings. Guitars pull out the plugs and reshape their sonic signals into balls of wool. The overall glaze is the same – semi-permeable, semi-final, but at the same time the creators have matured their workload so that it fits together in more succinct forms, which causes it to have more of a priority listening function. The emotions and their meaning are prismed by the context of electroacoustic sustenance gleaned from listening research. I say listening, as this is a listening person’s album. It can’t be forced out your earphones. It is organic, a type of temperance exists in the layers of the sequences of sounds. This gives the description of bio-electroacoustic a sort of warranty on the record’s language. It is in this nature that much electroacoustic music exists – it is a corollary, not a surfeit. Time to load up the SoundCloud of this fine collection!