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There is no excellent beauty that has not some strangeness in its proportion. Responding vividly to a moment of hope, Margot Blue (a.k.a. Margot Parker-Elder) has produced (re)currents (31'39") - and captured well the wired euphoric feeling of electronic countenance. Alive with possibility, complexity and depth this album comes through the speakers sharp and bright. By turns stark and strange to the ear, then spacious and sombre, (re)currents presents seven unpredictable flowing designs. Cycling beneath an immaculate musical surface the music skillfully changes shape and character, yielding a work of brilliant variety. In a lucid interplay of timbres measured sighs of sonic luxuriance stir quietly. Cresting and subsiding waves of stately sonorities lead the listener into a state of sensuous transport, culminating calmly in the sense of having gone on an expansive cerebral jaunt. Plangent synth pads give way to delicate maneuvers of resolving recursive melodic lines. With dissonance controlled this tumbling momentum provides radiant dramatic action. As swirling aural activity rises above gorgeous cascading patterns, the feeling of unity becomes unconscious - and all the more potent. The texture thickens, as does the breadth and depth, and the music seems to become a room the listener may enter and roam through. With the hazy and gorgeous playing right up against keen crystalline constructions, (re)currents balances density and clarity. Within this liberated zone we may imagine our way into the experiences and feelings of the musician. Listening to this music makes travelers of us all, taking us away from home, but finding us shelter wherever we land. Yearning for a world that cannot exist, Electronic Musicians are taking a different approach through the 21st century. Their way realizes the sound of electricity singing its song - of clear and true freedom.
- Chuck van Zyl/STAR'S END 24 June 2021 |
