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Posted by taylor in Uncategorized.



Australian sound artist Lawrence English seems to be on a tour of electronic music’s most distinguished labels. Having already released via his own Room40 imprint, English contributed to the likes of Cronica and Grain Of Sound before last year arriving at Touch (for whom he released Kiri No Oto) and now in 2009, 12k. A Colour For Autumn follows on from English’s previous seasonally themed album, 2007’s For Varying Degrees Of Winter, interpreting the ‘feel’ of the natural cycle into a series of abstract microsound compositions. ‘Droplet’ instantly takes on a choral feel, and we can hear a falsetto male voice instantly dissolving into a swirling sea of sound. In addition to the ambiguous conglomeration of vocal sustain, unplaceable field recordings add texture to the mix, eventually taking on harsher, noisier shapes by the piece’s close. There’s a brassy quality to ‘Watching It Unfold’, taking on a warm, gradual, almost anthemic quality as chords change at a stately, glacial pace, but ‘The Surface Of Everything’ ushers in a more pronounced use of instrumentation – not to mention a contribution from Christian Fennesz, who brings a fresh electronic angle to the track’s guitar exchanges and droning strums. This textured approach adds an extra layer of depth to the album, and ‘The Surface Of Everything’ arguably occupies the broadest, most satisfying range of sonorities of anything on the album. ‘Galaxie Of Dust’ has more of a smudged feel, squishing together greyed sounds and quivering high frequency tones, only to lead into ‘Stillness In Motion’ and its Oren Ambarchi-like bass tones. While the low-end marks out a melody slippery, steely drones move back and forth leading into a beautiful final phase full of static noise and gentle feedback. Lovely, very approachable micro-drones from 12k.



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