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JGrzinich/Seth Nehil, "Confluence"
Intransitive Recordings
Intransitive Recordings has released one in a pair of discs by JohnGrznich and Seth Nehil that explores their prolonged colaboration ofthe last several years. 'Confluence' opens with an extended, airy droneand a slight whisper that leads into a repeated clanking rhythm thatgrows until another, deeper drone can supplant the first. Slowly,microorganisms made purely of sound begin to swell and collide as theopening piece, titled "Pneuma" in a vaguely scientific artspeak createsa self-sustaining colony of sounds as beings. Of course, thesound-organisms don't have to abide by the physical laws and socialrules that real beings would, and so the analogy ends there. ButGrznich and Nehil have set out to create organic sound systems with'Confluence' and the differentiation between an organic system and asymbol of one is important. The prose that fills the liner notes iscoldly detached as it describes processes, and experiments more thansounds and feelings. Of course, not all music is set to resonate on anemotional level, and "Pneuma" is a good example of that. You can findthe structures, observe the growth and be completely involved inlistening to the system, but it's not likely to affect you in apersonal, emotional way unless you are normally moved by the kind ofrigidly scientific approach to the world that this track seems toentail. "The Distant Edge," however, treads a very different terrainthat is full of voices and the aural signifiers of human activity. Theatonal choral drone that builds with the agitated activity of a beehiveis reminiscent of the György Ligeti themes in 2001, and is accompaniedby location recordings of crowd noise and honking car horns that evokethe confusion and dissonance of a demonstration in Belgrade. Thealbum's closer, "Lohme" is a fluttering, cyclic drone workout that seesa sonic system in stasis, wrapping around itself in a pulsatingwhitewash. "Lohme" lacks the tension of "The Distant Edge" and theclinical precision of "Pneuma," but works on it's own as a worthy forayinto musical structures that take an almost extreme amount of patienceand time to digest. From the pen and ink drawing on the cover to thelast fading tones of recorded tones, 'Confluence' is an observablesonic petri dish. Just like looking through a microscope at amorphousshapes colliding in the protoplasm, approaching this record can bedifficult and rewarding depending on what you expect to find.
Intransitive Recordings has released one in a pair of discs by JohnGrznich and Seth Nehil that explores their prolonged colaboration ofthe last several years. 'Confluence' opens with an extended, airy droneand a slight whisper that leads into a repeated clanking rhythm thatgrows until another, deeper drone can supplant the first. Slowly,microorganisms made purely of sound begin to swell and collide as theopening piece, titled "Pneuma" in a vaguely scientific artspeak createsa self-sustaining colony of sounds as beings. Of course, thesound-organisms don't have to abide by the physical laws and socialrules that real beings would, and so the analogy ends there. ButGrznich and Nehil have set out to create organic sound systems with'Confluence' and the differentiation between an organic system and asymbol of one is important. The prose that fills the liner notes iscoldly detached as it describes processes, and experiments more thansounds and feelings. Of course, not all music is set to resonate on anemotional level, and "Pneuma" is a good example of that. You can findthe structures, observe the growth and be completely involved inlistening to the system, but it's not likely to affect you in apersonal, emotional way unless you are normally moved by the kind ofrigidly scientific approach to the world that this track seems toentail. "The Distant Edge," however, treads a very different terrainthat is full of voices and the aural signifiers of human activity. Theatonal choral drone that builds with the agitated activity of a beehiveis reminiscent of the György Ligeti themes in 2001, and is accompaniedby location recordings of crowd noise and honking car horns that evokethe confusion and dissonance of a demonstration in Belgrade. Thealbum's closer, "Lohme" is a fluttering, cyclic drone workout that seesa sonic system in stasis, wrapping around itself in a pulsatingwhitewash. "Lohme" lacks the tension of "The Distant Edge" and theclinical precision of "Pneuma," but works on it's own as a worthy forayinto musical structures that take an almost extreme amount of patienceand time to digest. From the pen and ink drawing on the cover to thelast fading tones of recorded tones, 'Confluence' is an observablesonic petri dish. Just like looking through a microscope at amorphousshapes colliding in the protoplasm, approaching this record can bedifficult and rewarding depending on what you expect to find.
