A long, pleasant droneument.
Six Angles sees Midwich, Yorkshire no-audience maven Rob Hayler, tag teaming with lucha libre Mexican experimentalist The Skull Mask, aka Miguel Perez, on two long, brainfeeding tracks. “Five Angles,” aside from containing five elements (two guitars and organ drone by Perez, two synth drones side-by-side by Hayler), plays out over five distinct movements. It opens with the tolling of dented bells jingling like the call to prayer at some ancient Ionian temple before an abyss opens wide, the rush of its subterranean air the wind that plays an Aeolian harp perched at its edge. An antiquated small orchestra with the tune and pitch of one that might have been hiding behind a radiator in “Eraserhead” puts string to bow and mouth to reed. The harp, now played by metallic hand, cuts into the still-dank air, mythological as an Indo-Grecian crossbreed. A long, pleasant droneument gracefully ushers us off.
“Written in Sand” could be a dub version of the fourth “movement” of “Five Angles.” It’s very beautiful, very exotic and perhaps even erotic. It would be a good soundtrack for a fetishist, of some sort. The air wobbling behind it almost overwhelms it halfway through its twenty-two minutes but it soldiers on, shaking and shivering.