Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
The record opens with the minimal sounds of a clock, its ticking mixed with very frail ambient sounds. The texture gradually fills out with overlapping recordings and other elements that reveal a melodic and rhythmic matrix. The matrix appears to be based on a fascination with time, with cryptic orchestrations creating the sense of something scanning. This album by Vincent Lingouf mixes analogue electronics, acoustic instruments and field recordings. Lingouf is clearly an unconventional artist who has moved from comics to music and who is prone to sudden stylistic changes. Without hesitation he migrates from classical-influenced compositions to breakcore. In spite of the many influences perceivable in his work the scores remain defiantly musical, not too far removed from certain electroacoustic experimentations. The French artist, native of the Lower Normany area, is able to manipulate a certain structural naïveté (ingenuity). His poetic inspiration accommodates recordings of an accordion, water and filled crystal glasses. He adds emphatic and very melodic loops via a Bontempi pipe organ, together with metal sounds and his own voice. Terres De Pierres effectively integrates catchy atmospheres, crooked rhythms, instrumental resonances and stylistic consonances. There is an obvious pleasure in producing music in a very free way on display here, with no sense of the artist following specific tendencies and abstractions. This very cross-sectional conceptualism and declaration of style comes across as a precise choice, not produced entirely from spontaneity and simple impulses.