Another Timbre at Music & Literature

lovely article from Paul Kilbey at Music & Literature listening through the recent releases from Another Timbre, including “Extinguishment”:

“Three hypnotic pieces of between 11 and 16 minutes combine improvisations on bass guitar (Billy Gomberg) and French horn (Anne Guthrie) with electronics, recordings from their live shows, and field recordings. These are blended with great subtlety—it’s barely ever clear where one element ends and another begins—and they add up to something gently mesmerizing, a soft wash of sound often reminiscent of what you might hear walking idly about in a quiet town. Two-thirds of the way into the first track, “convention of moss,” some sort of choral folk-music concert gradually comes into focus and then fades away amid the sound of heavy rain. Soft bleeps and the murmur of a crowd of people vaguely suggest a shopping center—to me, anyway. It is a tapestry, within which one element is the listener, eagerly finding imagined patterns, overinterpreting, even..”

and in general about this group of records, Kilbey writes:
“…the thing is, there are such large spaces left between the notes on all these albums that really, they are as good as the number of thoughts they set off in the listener’s mind.”

Lucas Schleicher on “Extinguishment”

Lucas Schleicher has posted an insightful reflection on Extinguishment over at Brainwashed…

“They blend field recordings, of rain and a patriotic Norwegian parade for example, with scrapyard detritus, pair foghorn drones with the bristly friction of surface noise, and balance the eerie ambience of humming wires against a distorted monastic chant, all while maintaining a delicate connection with those first embryonic moments. The way they achieve that consonance and balance—between the acoustic and electronic instruments and in the structures of the songs themselves—defines the album.”

complete review below:

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Brian Olewnick on “Extinguishment”

The usual thoughtful listening report from Brian Olewnick ->

“There’s something about the structure of the three pieces–they feel very organic and unfolding, no clear framing but there’s some underlying sensation of tensile strength; I can’t figure it out, but I like it. Exciting work, great to hear.”

…and to whom we now owe the gem “elephant/Malfatti hybrid.”


complete review below:


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