A bit of a luminescent drone collage harkening early Thomas Köner. Lapping and drifting, then soaring, it’s quite oceanic in scope, and a bit of a head trip.
An astonishing talent continues rising as Richard Garet slowly unveils the richly embedded hues that encompass his latest release, Four Malleable. Broken into four stealthy long parts “Nocturne” offsets things from the top, long before we cross any bridge. A bit of a luminescent drone collage harkening early Thomas Köner. Lapping and drifting, then soaring, it’s quite oceanic in scope, and a bit of a head trip. It scales outward, feels quite expansive, yet subtly rocks the intimate side of the center of your chest. Deep bass rumbling makes way for something that simulates a creepy, low-fi invasive presence, then quiets to a hollow atonal frequency and elapses into static white noise like a fine mist waterfall. And that’s just track one. The remaining work follows suit, with high-pitched sine waves and molded experimentation. Two “Untitled” tracks couldn’t be more different, one a bit unnerving dabbling in minimal crispy static while the other sounds like a document of floating in open space, muffled voices, et al. At thirty-one minutes “Sceneries” is the lengthiest track here and doesn’t skimp on the tonal/pitch play of bells and motors that bring about both sounds of rapid intensity and breathy sensuality. Though take this one a half hour at a time, especially for beginners. If you’ve got a surround system this double disc set is a must — Instructions: play loud in low light. (Toneshift, 2010)
Four Malleable is out now on and/OAR.
