Immaculately presented as always with images suggestive of places and spaces without clarification. Memories from place with sounds from the space.
The CD opens with an edgy surface noise that ruffles from calming hovering rushes of melody that dissolve into harsh industrial harmonics that seem to devour the speaker and cough out a transparent spittle of silver music.
And questions arise – is ‘The Last of the Violins?’ a requiem for the final occasion of applying her unique approach to the violin live? From the undulating and indeterminate scratchings it is hard to tell, the language so buried within a live processing that it’s as if the face lift has brought about a whole new soundscape a full step away from imagined sounds of the violin.
The beat of a telematic clock, the glitchy heavy metal drones, the broken frame of percolating fizzles, bubbling up from beneath, hypnotic frequency rushes in the ‘Pool in the Basement’ that push and pull at the sealed skin of the speaker, all of these moments add up to the fourth in a series that is as mesmerising as it is unpredictable.
What makes this music so beautiful is the ability to listen repeatedly and constantly finwd fresh nuances and effects with the densely filled soundscape. I will now listen to it once more and continue my exploration.