Released: 2014 By John Christian
2 in stock (can be backordered)
Sylvain Lupari / gutsofdarkness.com & synthsequences.blogspot.ca
The music of Airsculpture is not of the most accessible, I agree on it. Anchored well in a musical style which flirts with a Berlin School perfumed of somber English chthonian vibes, the trio exposes in concert, and this year after year, a musical genre based on improvisation. It results from it into long musical plays stuffed of enigmatic ambiences and of heterogeneous tones which are linked to rhythmic passages forged in the minimalism and of its hypnotic effects. Very estimated by an American audience which is still nostalgic of the Tangerine Dream era of the 70’s, Airsculpture makes regularly a flying visit in the corner of the Pennsylvania to offer a musical performance deserving of his reputation and where the improvisations suit very well to the night-waves of the famous Star’s End Radio Show hosted by the legendary Chuck van Zyl. This is how Graveyard Shift was conceived on a cold night of November 19th, 2006. And that would have been the night of the Halloween that it would still have been better. Here is why!
Hollow winds, imagine endless roarings in a deserted world, open the first abyssal movement of the title-track. We hear ringings there. But what charm even more is these lines of synth and their slow winged movements which glide over a symphony of ectoplasmic breezes and these hummings of machines to make nourish a night of fears. Like film directors, or better authors of cabalistic works, Adrian Beasley, John Christian and Peter Ruczynski take the time to widen well their amphigoric moods where is grafted a subtle chthonian choir. A pulsatory line emerges. And like a spectre which skips but limps of its still soft legs, it beats a weak irregular measure which has the peculiarity to hunt the somber ambiences to give way to synth lines which flirt with a strange approach of contemplativity. A sequence gets loose from these moods to play with its shadow and clinks in parallel in the dark pulsing movement which little by little escapes in the oversight. It’s early. The bar of 8 minutes caresses our ears when the lights of the rhythm turn up to cavort freely in the smoking circles of Graveyard Shift”. Hypnotic
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