Eleh/Sun Circle - Fading Spectrum of Darkness/Parhelion - LP
Eleh/Sun Circle - Fading Spectrum of Darkness/Parhelion - LP
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Deluxe limited edition 180 gram vinyl release house in sturdy letterpress jackets and pressed in an edition of 500 copies. The first 100 copies are available in a silver shimmer ink on black. Beautiful drone compositions from two kindrid musical entities. Eleh's pure analog drones are a perfect companion for Sun Circle's ecstatic high volume compositions.
Letterpress jackets by Reuben J. Little at 43rd Parallel in Portland, Maine.
Eleh's track is a slight departure from the sub-sonic bass heavy drones of their first two records. This time around there's more emphasis on a glistening shimmer honoring the natural beauty of a Winter's day. Recorded using vintage modular analog synthesizers and glowing tube oscillators, Eleh pays tribute to 60s minimalism.
Sun Circle's Important debut is a single, shimmering, acoustic chord. Zach Wallace plays bowed dulcimer and string bass; Greg Davis plays bowed dulcimer and harmonium. While it remains static in time, the minute variations of human touch give the piece an organic breathing quality.
TRACK LISTING
A. Eleh - Fading Spectrum of Darkness
B. Sun Circle - Parhelion
REVIEWS
"Eleh use a battery of analogue oscillators to dig down into frequencies so low that they become their own obstacle; the technical difficulty of mastering and pressing them satisfactorily have delayed the release of Floating Frequencies/Intuitive Synthesis I. Beautifully packaged and pressed in a limited run, this record could have been a Stereolab-style exercise in fetishisation and nostalgia. It's dedicated to La Monte Young, and the album's titles, instruments and methodologies hark back to the academic laboratory conditions of 1960s minimalism. But its forensic exploration of the limits of bass perception (and reproduction) has uncannily contemporary echoes. 'In The Ear of the Gods' drops immediately into a speaker threatening sub-bass stasis and stays there with immaculate purity, broken only by a raindrop of a kick-drum. When the unified bass tones finally shift fractionally, the resulting phasing has the kind of richly vertiginous wobble and warp that dubstep loves to play with. " ~ The Wire
