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Jonathan Coleclough, "Cake (alternate version)"
Siren/Robot
The Alternate Version of "Cake" is a reworking of Coleclough's original release: a single, 41-minute piece built mostly from processed field recordings, carefully controlled feedback, and bowed metal. It's an emotive and highly atmospheric work (if a bit linear), that spans a much wider dynamic range than his other compositions. The disc begins with recordings of birds and insects above a barely audible low-frequency rumble. This persists for several minutes at the edge of perception, occasionally augmented by footsteps, wind, and other noises captured in a peaceful landscape. Just as listening to the sounds of the forest begins to grow slightly tiresome, the piece starts moving forward, with layers of glistening, high-pitched feedback slowly emerging from the mix. The bird songs become bathed in gradually increasing amounts of reverb and effects-processing, and the rumble builds in volume and texture into a deep, ominous, metallic drone. All of the sounds used are detailed, and the resulting sum is quite interesting.
I particularly like the manipulation in which the natural sounds are merged with the artificial—the birds take on a strange resonance, and the buzzing of insects sounds vaguely like the clicking and clanging of metal. The piece grows in intensity during its middle section as the feedback is amplified and digitally timestretched, and it is further embellished by what might be prepared piano and backward cymbals. After building into and persisting for a few moments in a crescendo of metallic tones and insect-like noises, during which the textures exhibit more evidence of digital treatment than in the usual Coleclough composition, things begin to get predictably and progressively calmer. The effect is absolutely hypnotic as the layers of ringing high-pitched tones slowly shift and change; the piece gradually moves back into the lower frequencies in which it began, and the bird calls re-emerge. A few repeating icy feedback tones establish a faint melody, evoking a reflective and somber mood. Just like his other releases, here Coleclough arranges ordinary sounds perfectly to create an environment that is sonically rich and definitely captivating. Due to its range of volume and sonic variety, this disc is probably his easiest listening so far; regardless, it is certainly a rewarding one.
The Alternate Version of "Cake" is a reworking of Coleclough's original release: a single, 41-minute piece built mostly from processed field recordings, carefully controlled feedback, and bowed metal. It's an emotive and highly atmospheric work (if a bit linear), that spans a much wider dynamic range than his other compositions. The disc begins with recordings of birds and insects above a barely audible low-frequency rumble. This persists for several minutes at the edge of perception, occasionally augmented by footsteps, wind, and other noises captured in a peaceful landscape. Just as listening to the sounds of the forest begins to grow slightly tiresome, the piece starts moving forward, with layers of glistening, high-pitched feedback slowly emerging from the mix. The bird songs become bathed in gradually increasing amounts of reverb and effects-processing, and the rumble builds in volume and texture into a deep, ominous, metallic drone. All of the sounds used are detailed, and the resulting sum is quite interesting.I particularly like the manipulation in which the natural sounds are merged with the artificial—the birds take on a strange resonance, and the buzzing of insects sounds vaguely like the clicking and clanging of metal. The piece grows in intensity during its middle section as the feedback is amplified and digitally timestretched, and it is further embellished by what might be prepared piano and backward cymbals. After building into and persisting for a few moments in a crescendo of metallic tones and insect-like noises, during which the textures exhibit more evidence of digital treatment than in the usual Coleclough composition, things begin to get predictably and progressively calmer. The effect is absolutely hypnotic as the layers of ringing high-pitched tones slowly shift and change; the piece gradually moves back into the lower frequencies in which it began, and the bird calls re-emerge. A few repeating icy feedback tones establish a faint melody, evoking a reflective and somber mood. Just like his other releases, here Coleclough arranges ordinary sounds perfectly to create an environment that is sonically rich and definitely captivating. Due to its range of volume and sonic variety, this disc is probably his easiest listening so far; regardless, it is certainly a rewarding one.
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