COLECLOUGH, J. & LETHE - Long Heat

Format: CD

Label & Cat.Number: ICR43

Release Year: 2005

Note: digipack

Price (incl. 19% VAT): €14.00

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Collaboration von JONATHAN COLECLOUGH mit dem japanischen Cellisten & Impro-Droner LETHE ! Far-away drones, die man kaum fassen kann, dicht & subliminal, unwirklich & undurchdringlich, zeitweise sehr kraftvoll & konkreter werden in Mikrosound-Bereiche hinein, alles andere als statisch, mit überraschenden Wendungen.

“It's a pity that there is not much information on the cover of this CD, since it would be interesting to know what is going on here. Lethe is the Japanese Kuwayama Kiyoharu, who has released a CD on Trente Oiseaux of his cello/drone music aswell as a couple of releases on his on own label (and a collaboration with Kapotte Muziek is forthcoming on Intransitive). The reader who has been paying attention knows the name Jonathan Coleclough as being on this reviewer's favourite drone artists. Now, why would it be nice to know just a little bit more? Is it Lethe sending sound material to Coleclough? Perhaps. It seems to me the most logical thing upon hearing this CD - well, two actually. If you want you can order a copy and order an extra bonus CD with 'Long Heat - Second Part'. It has the majestic sounds that is the trademark of Coleclough. These long drone sounds that slowly change shape, change colour. But that's only one part of the game. Coleclough adds another layer of heavily reverbed sounds of falling objects. An additional third layer is used for utter dry sounds – scratching the surface. Three distinct layers of sounds that over the course of each disc start to intermingle with eachother, they slowly merge together, but it's not that a blurr arises, not at all. From these slowly merging masses a new distinct and powerful drone arises above the field which slowly moves on and follows it's own course. Once this course is gone, the material falls apart like small particles, suddenly, without warning.
But like said: is this what is done, or is it the work of Lethe producing this work with the use of Coleclough soundmaterial? Something says here, this is not the case. Hard to tell why, so it remains mere guessing. But is it important, all this guessing? Perhaps not, I am sure it is not important at all. Isn't this were the result counts? I am sure it does. And sure it does count. This is a beautiful work of drone music. Majestic stuff, moving slowly forward. Great stuff, but maybe I'm a little biased here.” [FdW / Vital Weekly]