Reviews:
(Vital Weekly) A disc with three players and no information; other than the line-up: Bruno Duplant (organ with electroacoustic devices), Pedro Chambel (sinewaves and noises) and Fergus Kelly (processed electronics). This is released by Eh?, part of the Public Eyesore empire of improvised music labels, but the forty plus minutes here show us a different side of improvised music. You may have guessed from the 'electronics' involved with these musicians that this might be different, and it sure is. It's a bit noise like, but not power electronics, just a bit louder, a bit dirtier and a bit grittier than usual; nothing careful here, but maybe that's also part of the recording. I suspect this is a room/microphone recording, adding an alien vibe to the music, a somewhat distant approach. It bursts and bubbles in the background and these drones sound like 'obscure', 'vague' or even 'industrial'. It is like being held hostage inside the engine room of an old steamer; on it's way to sink. Far away we hear a foghorn, but we can't reach the surface, no matter how hard we scratch the surface, how busy we are with a screwdriver, picking the lock. It's heavy weight music here, a soundtrack to an obscure movie about an unsuccessful rescue of an old soviet submarine. Enough metaphors, I'd say: great release! - Frans de Waard
(Revue & Corrigee) On reste dans le drone avec le trio DUPLANT, CHAMBEL, KELLY, pour une suite d'une quarantaine de minutes parue juste avant l'été, sur le label californien a priori affilié à Public Eyesore Records. Une électroacoustique vibrante, en fines strates rappelant le minimalisme de Perlonex. Une utilisation fine de l'électronique mêlée à l'orgue de Bruno DUPLANT, créant des reliefs arrondis, feutrés, statiques, résonnants. Ces paysages se cristallisent par moments, en vapeurs analogiques fuyantes. Des espaces cotonneux enveloppent une collaboration en triangle, sans contrefaçons, en appels, en écho, sur des variations stridentes parfois. Une excellente surprise à tous les étages, tant par le label que je ne connaissais point, que par ces artistes, que je découvre. Un disque qui aurait largement sa place dans notre rubrique Ring Modulations, dans notre édition papier. Kasper, la balle est dans ton camp. Un excellent disque. - Cyrille Lanoë
(Chain D.L.K.) Coil once explained how some of the music that they made could be attributed to the direct intervention of the machinery that they used, calling this entity ELpH. One can get a sense that a similar phenomenon is happening here with this trio consisting of Fergus Kelly, Pedro Chambel, and Bruno Duplant, credited with Electronics [Processed], Electronics [Sinewaves] and Noises, and Organ and Electronics [Electroacoustic Devices], respectively. As with most Eh? releases, there is little background and the music is left to speak for itself, so let's get into it. This consists of one long track, which begins with lots of feedback, line noise, and grinding waveforms reminiscent of angry cicadas ready to devour the fields just before harvest. They make good use of dynamics and use a variety of sounds to keep it engaging. At around 7 minutes in, they mood shifts to mellow, static drone, then shifts again. It is chaotic, but interesting. After 30 minutes, there begins to be a kind of coherence to the composition; it is almost peaceful, until blasts of line noise jolt you from your reverie. With this in mind, the album could not just simply conclude; at just over 40 minutes in, it fades out, but then comes back again for a few seconds. As quickly as it came back, it's gone. Overall this will appeal to fans of experimental improvisation. This album weighs in at around 41 minutes. - Eskaton
(Monsieur Délire) A 41-minute improvisation: slow-paced, careful, consisting of drones, feedback, treatments, and electrical sputtering. With Duplant on organ and electroacoustic devices, Chambel on sinewaves, and Kelly on electronics. Minimal but engulfing; successful without getting transcendent. - François Couture
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