unterschiedliche Perspektiven in einem offenen, prozesshaften Ansatz. Klanglich basiert das Album auf der Kombination von analogen Tape Loops und digitaler Bearbeitung. Durch das wiederholte Aufspalten, Spiegeln und Zusammenführen von Stereospuren entsteht ein dichtes Gefüge aus Überlagerungen und zeitlichen Verschiebungen. “Poulaine” erscheint als CD und zum Download.

“Long Trax 4″ knüpft in seiner zurückhaltenden Eleganz und präzisen Gestaltung an die vorherigen Veröffentlichungen der Serie an und offenbart erneut eine Seite des Musikers, die sich stark von den meist ambienten Kompositionen Celers unterscheidet. Im Begleittext heißt es: “And so we come to round 4 of the Long Trax series, the pivotal moment of truth. Four new deep cuts spread across 4 sides of vinyl in dual sleeves, and spun onto disc. An all-analog, hardware machine affair, full of glacial pads and icy stabs, rhythm composure (composer) sequences, round booming basslines, and narrators from beyond. It’s the real thing, still chugging along”. Das Album, gemastert von Stephan Mathieu, erscheint mit Artwirk von Tsuji Aiko.

es: “Following a similar trajectory as that of Memory Repetitions and Future Predictions, this set pushes further beyond, continuing to utilize a wall-of-sound approach to mood construction, and reflections on complicated grief. Simultaneously, it is a further statement to intensify blurring of the lines between genres, with sound palettes defined solely by their chosen volume. Finally, it should exist as a pure manifestation of uncertainty, fate, and illusion”. Die 4CD-Versionen wurden von Stephan Mathieu gemastert, das Release erscheint zusammen mit einem zwanzigseitigen Booklet.

die erste Vinylauflage des Albums, neben einer identischen 3CD-Edition ist auch eine Neuauflage der Original-CD erhältlich, die wie die beiden anderen Editionen von Stephan Mathieu neu gemastert wurde. Eindrucksvolle, ethnografisch anmutende Feldaufnahmen, die bisweilen kantige Seiten zeigen, halten sich hier die Waage mit einer wellenförmigen, melancholisch eingefärbten Dröhnung. Das Release erscheint beim hauseigenen Label Two Acorns.

“Recorded in 2007 and 2008, Cursory Asperses was created with cassette tape recordings of water sounds from various rivers, streams, lakes, beaches, and pools, combined with direct to tape instrument recordings from synthesizers, an organ, cello, piano, and bowed instruments. Instead of traditionally mixing these, at the time we were interested in software, using free Mac OS Classic programs such as Audiosculpt and Soundhack. Before we had a DAW, before VSTs, we used non-realtime convolution processing through software, using the water recordings as an impulse for the instrument sounds. The instrument sounds were “arranged” (by adding silence before, during, or after) in layered, visual swathes, to create an audio interpretation of the movement of water and waves, slowly evolving and shifting, for a meditation on deep and focused listening. Opposed to passivity, where sounds become lost in distant tones and layers upon layers are misinterpreted as single, meaningless tones. Or, it’s just as meaningless as the passing of water, the flow of rivers – the crashes of sparkling ocean waves, all those sounds that we recognize. The tones are unpolished, left in their fuzzy form, with the high noise crushed into the deep. Behind the swells, and under the depths is a longing, or a lack thereof. It’s passing by, no different than it was years before”. (Will Long)

des zwischen ambienter Dröhnung und erzählerischen Soundkollagen changierenden Werks. “Results blended instrument recordings, found sounds, synthesis, and field recordings, all recorded direct to tape and mixed manually on diy multi-track reel-to-reels, collages of patchwork tapes glued together, or ultra-long unyielding static loops”.  Auf der Basis der Originalbänder wurde das Material von Stephan Mathieu neu gemastert. Das Album erscheint nun auf 3-LP, CD, 2-MC und zum Download.

“Noise is coming from every direction. Backseat tvs flicker, and shuffling sounds fill the spectrum. Light glimmers from the windows, and only a few of us look out. I’m consumed by everything (else) and it all seems overwhelming. I’m outraged by the extending evils, their smiles filling my consciousness. It’s not good enough to be a bystander. I won’t make those mistakes. I will try. But what, do you give? Below, there are tiny islands passing by. They appear for minutes, and disappear. So will this noise, and us.” (Will Long)

@ Celer | William Thomas Long | Spotify

“Staring out, tense. Looking down isn’t so different than looking up, but it passes by faster. Contentment at the accomplishment that I’m here, and the fear that what I’ve always been looking for has passed by. Staring up and looking at the sky, wishing you were up here with me, here where you can see everything. Above, the surface drifts by, and the colors on the horizon in pale blues makes me calm. Then blue. Deep in pale blue. Again, in the morning. Close your eyes. Repeating this, repeating that, then it changes. Try to stay focused, but you’ve already moved out of sight. You’re a million miles away, and farther. Waiting for night. Stars, always beyond. Now, it’s already tomorrow.” (Celer)

@ Celer