Bell Monks + Gregory Taylor – Brocades + Palimpsests

Posted: 16 September 2016 in Albums
Tags: , , , , , , , ,

clang records – clang045 – 19th August 2016

Christopher Nosnibor

A note hangs in the air, sustaining, resonating, slowly decaying. Just before silence encroaches, the next note is struck. It hovers, hangs and gradually fades. A slow, oscillating drone crawls beneath. There is movement, but it’s evolutionary.

‘Brittle Evenings’ is led by an unfurling picked guitar line, deliberate, ponderous, reminiscent of the later Earth albums. Ghostly tones remain, sonic erasures which correspond with the idea of the palimpsest, and offer clues to the way the pieces formed. 14 short, quiet guitar pieces penned by Bell Monks for an art opening in 2012 provided the basis for the work. Later, they invited Ben Willis and Matt Sintchack (contrabass and saxophone respectively) to play over the tracks. Despite the addition of these new layers, they still felt the work seemed incomplete, and so called upon Gregory Taylor to rework the tracks digitally. Finally, with over 100 minutes of audio, it was Lars Graugaard’s editing which shaped the ten pieces which comprise the final track-listing. As such, the album is the result ofnear-infinite layering, relayering, additions and deletions.

But as to where one individual’s contribution ends and another’s begins is impossible to determine, and the beauty of the album is the way in which the parts blend, smudge, and blur together, folding into and over one another, obscuring, reshaping and remoulding to accommodate or obliterate previous layers and edits.

Each piece is also formed around shifting tones and sounds, the shapes and structures indistinct, fluid. Indeed, very little of the original guitar work is in evidence on listening to these pieces. Warm tones and an organic feel permeate the album’s fabric, although this is touched by a counterpoint of mechanical sounds, whirring, grating, rumbling. As one layer of sound fades, another emerges, leaving the shadows of the one before. Long, mournful strings quaver over rippling electronics and dulcimer-like chimes flicker in soft washes of sound. On ‘…Et Tremblant Feuilles’, perhaps the album’s most linear piece, a sonorous bass with gothic overtones builds a darkly ominous atmosphere.

The semi-industrial dark ambience of ‘Caress of Sun’ is constructed of layers of sound, heavy drones and interminably elongated scrapes, growing denser, deeper and more abstract as it progresses, emerging in a dazzlingly kaleidoscopic world. It isn’t until the album’s eighth track, ‘Sublimation Residue’, that the guitar becomes prominent once again, and once again, it gradually fades out to be engulfed by a soft sonic cloud.

 

Bell Monks   Gregory Taylor

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