Drone Records
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Format: CD
Label & Cat.Number: Unfathomless U08
Release Year: 2011
Note: four long tracks of subtle field recordings made in Japan & Australia and brought together to form transcendental drone-weavings by these two rising sound artists... eighth release in this strong series by MYSTERY SEA, dealing with "spirits of specific places"; lim. 200 handnumbered copies, beautiful artwork as usual by DANIEL CROKAERT
Price (incl. 19% VAT): €14.00

More Info

" Sometimes, the impossible is a basket of new unlikely seeds realizing the geographical difficulty of working in unison on the same site, we opted for using at least common geologic context, not knowing where this could lead us

What could come indeed out of distance, sensory communion, a mutual love for depicting the relief of things, its tactility ?perhaps as with the best abstraction, a fertilizing stream, something perhaps larger than what the initial elements could have impliedsomething surprising even to us

Injya is the encounter of our combined wanderings, and most probably the emergence of an imaginary entity powerful enough to engage us in a strange way(James McDougall/layout by Daniel Crokaert)" [label info]


"Both of these artists can be regarded as 'new kids' on the block of field recordings, coming to the foreground in recent years with a plethora of releases on labels as Sentient Recognition Archive, U-Cover, Dataobscura, Test Tube, Resting Bell and Mystery Sea - the latter doing a solo release by both of them. On their subdivision Unfathomless they have a collaborative disc of music, based on field recordings made in their own locale (the Akigawa Valley/Otake Limestone Caves, Japan in Sasajima's case and The D'Aguilar Mountain Range, North West of Brisbane, Australia in McDougall's case) and then 'equally developed'. 'The sensitive issue of not occupying the same token sites was acknowledged and it was opted instead for a common geologic context' - whatever that means. Its a release that has some questions: for instance: is there any processing and if so to which extent? How does this collaboration work anyway? Are recordings from both locations simply played together, or has there been any kind of mixing going on? Its all not easy to say. I think there has been some form of processing, mainly just EQ-ing, bringing out more high or low end frequencies, especially in the third and fourth pieces. Also I think that in all four pieces they have searched for specific characteristics of the provided sounds and set them together, with some extent of mixing. I also kept thinking: why should I bother thinking of what they did or didn't do: these four pieces are very good, a culmination of field recordings that, once together, make great sense. Not minimal, hardly changing music, but vibrant, always on the move, full of tension, evocative and beautiful. Excellent, if not always the most original, but that is perhaps quite hard." [FdW/Vital Weekly]