This West Coast USA trio sparks slight remembrances of vintage Brian Eno ambient electronica, amid many nouveau uplifts and curiously interesting disparities. Mastered by electronics master Thomas Dimuzio, the artists create dark, streaming extended note sound-sculpting motifs via keys, samplers, loops, and other implements or facilitations.
Lucid similes of space travel combined with segments that are akin to unveiling a shrouded mystery come to fruition, as the band mimics an expanding universe during several passages. They produce eerie and brooding soundscapes on "2.5," where the music seems to traverse a vast frontier that defies any rigid semblances of time and space. In addition, the trio seemingly shreds through sweeping layers of multihued textures, awash with harrowing echoes, corpulent bass notes, and oscillating noise shaping articulations.
The music plays tricks with the psyche which, of course, delineate a desired effect accomplished through the power of shrewdly arranged patterns that intersect at various points. They render daunting sojourns and at times, perform as though they are conversing with a higher entity. In certain passages, either Michael Addison Mersereau or Mark Wilson iterates a phased-out alien tongue amid modulating backdrops that perhaps mimic the solar winds. Hence, it's an artful and fascinating trek into the land of electronica that probes the boundaries of phantasmagorical imagery and sane reasoning.
Personnel: Daniel Blomquist: laptop, samplers, keyboards, effects, mixing, and processing; Michael Addison Mersereau: guitar, keyboards, vocals, harmonica, effects, mixing, and processing; Mark Wilson: pedals, contact mics, vocals, keyboards, laptop, samplers, other effects, mixing, and processing.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.