 |
|
Mirror, "Still Valley"
Joined for the second time by Jim O'Rourke, Still Valley is much less chaotic and noisy than Die Spiegelmanufaktur.This album is a beautiful study of slowly shifting drones. As it wasproduced between 2002 and 2004, it is possible that this project wasstarted during the same sessions that produced 2002's Die Spiegelmanufaktur.Die Stadt
Though the LP is split into two side-long pieces, this is very much onepiece, as part one and part two sound similar. The forthcoming CDedition would benefit by combining them into one uninterrupted listen.The atmosphere here has here a lot of open space. As all music made byMirror could accompany films entirely shot in slow motion, Still Valleycontinues their consistency in vision and in excellence. Although theyare subtle, there are shifts in dynamics here, as during both partsthere are minor crescendos during the generally consistent ebb and flowof the patterns. One noticeable difference between this and other quietMirror affairs is the presence of oscillating pulses. These analogtones occasionaly accentuate the constant guitar drones, adding ashimmery quality, rather than becoming a competing element. While themusic is comparably quiet, it is still very powerful and affecting. Oneof the unique aspects of music such as this is its ability to defy thelaws of the passing of time. It's extremely difficult to tell whetherfive minutes or 15 minutes have passed while immersed in this soundworld, which adds to its appeal and prompts repeated listens. Althoughhe is more than ten years removed from his work with HNAS, it stillstrikes me as miraculous that in Mirror Heemann has since built up suchan impressive body of work based on retsraint and small gestures.HNAS's cut-up Surrealist approach was as far from the slow-moving,linear development in Mirror's work as possible. From the die-cut caton an otherwise blank olive green sleeve to the gorgeous soundscontained on the LP within, Mirror once again prove that less can bemuch more.
Though the LP is split into two side-long pieces, this is very much onepiece, as part one and part two sound similar. The forthcoming CDedition would benefit by combining them into one uninterrupted listen.The atmosphere here has here a lot of open space. As all music made byMirror could accompany films entirely shot in slow motion, Still Valleycontinues their consistency in vision and in excellence. Although theyare subtle, there are shifts in dynamics here, as during both partsthere are minor crescendos during the generally consistent ebb and flowof the patterns. One noticeable difference between this and other quietMirror affairs is the presence of oscillating pulses. These analogtones occasionaly accentuate the constant guitar drones, adding ashimmery quality, rather than becoming a competing element. While themusic is comparably quiet, it is still very powerful and affecting. Oneof the unique aspects of music such as this is its ability to defy thelaws of the passing of time. It's extremely difficult to tell whetherfive minutes or 15 minutes have passed while immersed in this soundworld, which adds to its appeal and prompts repeated listens. Althoughhe is more than ten years removed from his work with HNAS, it stillstrikes me as miraculous that in Mirror Heemann has since built up suchan impressive body of work based on retsraint and small gestures.HNAS's cut-up Surrealist approach was as far from the slow-moving,linear development in Mirror's work as possible. From the die-cut caton an otherwise blank olive green sleeve to the gorgeous soundscontained on the LP within, Mirror once again prove that less can bemuch more. samples:
