Kenneth James Gibson :: Groundskeeping (Meadows Heavy Recorders)

The grounds are vast and somber, the groundskeeper has unlimited access to the universe of the night, rich keyboard-string intonations, slow dark moods, atmospheric with rare moments where cold colors seem to emerge and then melt, mostly this music creates a quiet dark place.

Cinematic atmospheric dungeonscapes

Groundskeeping is an honored and ancient tradition, one remains focused on a specific piece of land, taking dominion, observing the natural processes, protecting and maintaining an established design. A groundskeeper could be a caretaker of a park, gardens or sporting venues, who maintains overall landscaping and the vegetation where appropriate, for appearance and functionality, forever and ever. There are droning monstrous night spirits intoning amidst an expansive dark and frightening eventide, experiments with grey objects never returned to the rainbow.

The grounds are vast and somber, the groundskeeper has unlimited access to the universe of the night, rich keyboard-string intonations, slow dark moods, atmospheric with rare moments where cold colors seem to emerge and then melt, mostly this music creates a quiet dark place. Cinematic atmospheric dungeonscapes, highly recommended.

The first track brings a slow dark quiet introduction, looking around the territory, enormous and rugged, mostly hidden in the gloom, “The Grounds” (2:05), establishes the atmospheric tone, subtle and gigantic. In darkness we can, by an effort of imagination, call up the vaguest images; in dreams objects appear to us as awake, the slightest external action of light is perceptible, the atmosphere is as if moments ago a fading slow chime of a bell rang out from a distant tower, the deep ringing sound is sustained until it fades. Did it really happen?

“Small Triumphs and Deep Disappointments” (7:47) continues the tone of darkness, now the sound is building out of purring electronic wells, tunnels echo with machines rumbling in the chthonic distance, light interspersed with darkness, sustained tones and choral hints, a voice reaching in the wilderness. The established atmospheric tone continues, the feeling is slow, but the piano sound is unique to this movement, “A Snowy Year In The Meadows Heavy” (4:52). Art allows a ponderous tragic piano in the midst of a distant chorus of women heard through darkness and smoke, followed somehow by a chorus of men, slowly and with sorrowful distinctness, then a chorus of incorporeal powers of some sort, a chorus of spirits perhaps not yet living but very eager to come to life. Strings emerge to add more beautiful sorrow to the darkness, delicate overtones extend quietly behind the piano.

In a few minutes there could be complete darkness, half-shadow, and slowly, I am as though lost in thought, partaking more or less of light and darkness, standing between the two. “In Time You Will” (6:09), for persistence rewards the dreamer. Perhaps this is a prophecy intended for the groundkeeper’s companion, perhaps earlier whispered, it will take time but you will, yes you will. I hear a foundation of humming machines with strings, fire with a metallic appearance, like searchlight beams, the slow tone is buzzed by whirling drones, and yet the creeping darkness continues.

This darker edge again slowly encroaches, bringing dreams of the regeneration of all humanity, ideas of eternal beauty. The dark choir and deep echoes emerge from below and rise into a desert of blowing sand and blazing skies, the slow tone is pulsing hidden in the darkness… Such is the force of imagination! “The Groundskeeper” (4:58) maintains the dark slow tone at the top of its form, the extremely mysterious circumstances in the most dangerous place, the door which was always closed has been opened and is standing ajar.

The door which was always closed has been opened and is standing ajar ::

Next, the tone has changed, the darkness is gone, the air is here, layers of accordion breaths  with hints of synthesizer, melodic and distinguished from the previous dark drone tracks while keeping the slow mood. There are strange friendships in utter darkness, “An Untroubled Moment on Magnus Bridge” (4:28) brings us to a new place while keeping the atmosphere, the angel swears that there will be no more time, the notes which are blown about by the wind are still to be heard in the slow and, as it were, dreary gloaming tenebrosity.

The seventh track. I see mountain expanses depicted by an electric guitar, leaving the shadows transparent, shimmering slow strums until the air spirits approach, titled “David’s Pass” (4:07). The action moves from the initial guitar rays of light to become overwhelmed with humming darkness, the earth weeps for its old gods, vague somber blurs can be sensed in the darkness. Everything is in noble style, a recent and strange, but agreeable, day-dream mingling with the darkness, as the huge ancient pines continue as before. The sun will set altogether and suddenly all will be darkness. And then suddenly I remember, I’m afraid of the dark.

A mountain express could be fast moving and dazzling. The final track’s title, “Pacific Mountain Express” (6:11) is a force to bring us home through our now familiar dark slow territory. A very sober play of dark rainbows, confusedly passing through each other in a mirror-like reflection, with gradually expanding velocity, as strings groan and press deeply. The drone is vast. The image then becomes gradually fainter, slow tears trickle down, between the darkness above and the groundskeeper‘s estate.

A restless musician ::

Kenneth James Gibson is a restless musician, composer, songwriter, record producer, creating music mostly on guitar, synthesizer, bass guitar, piano, vocals, and percussion. Gibson founded the 1990s noise rock band Furry Things, who released two albums and a few singles and EPs on Trance Syndicate. The band formed in Austin, Texas in 1993 and moved to Los Angeles, California in the summer of 1997. Since then, Gibson has composed music for TV and Film, with music in shows such as Shameless, The Simpsons, The Last O.G., Weeds, Californication, and Saturday Night Live; also for films such as The Best and The Brightest, Drones, Don Peyote, and 7 Minutes. He has explored a wide range of territory, imagine space rock guitars, glitchy ambience, dub effects, and mutilated drum’n’bass breakbeats, sometimes with distinctive dancehall reggae and jungle influences, glitchy minimal techno, now lingering in the realms of ambient, neo-psychedelia, Americana, and dream pop as well as several styles of electronic and avantgarde music. He founded his own label, Adjunct Audio in early 2005. His numerous projects have included [a]pendics.shuffle, Eight Frozen Modules, dubLoner, Reverse Commuter, and Hiss & Buzz.

Groundskeeping is avialable on Meadows Heavy Recorders. [Bandcamp]