“Beats in beats per minute is a reality home to many alignments, discoveries waiting all the while. For one, there’s a emphasis on rhythm and tempo. In drone, a pattern grid, ready to repeat or swirl like a clothing line spun into a wardrobe of shapes and sizes. Sometimes it becomes difficult to keep your finger on the pulse, the underlying factor of why drone can be seen as a drift into the abyss. For it can lack structure completely; at its most ultramundane (yet sonically clear) the drift is endless, a generative sustain and decay exercise where elements blur like craters on the moon.
Sustain and decay and adopting a pattern grid is privy in this particular DVG album. Tempo of the following tracks you can hear a project related to the lauded Tropic Of Coldness excursions on Fluid Radio since 2009. They sigh and yawn like a docile whale under the depths of the sea in a “Tired Sounds Of Stars Of The Lid” fashion, and pry for your attention in developing couplets of melody phrasing, tension and release, a flatlined and underlined exhaustion of the best of the best in drone orchestration. I absolutely love this kind of stuff, you can tell! Happily for me and you, there’s plenty here.Much of the music is ingrained with a gentle and caressing touch, such as the nocturnal ambience of “98.36bpm”, a tune set to soar on the sea of the unconscious mind, downplaying a certain eerieness in favour of a honeyed drift that shines and drips clavically in torsion down the body of the piece. Ultimately these sounds are that of the lesser heard kind. They are not minimalist, because minimalism is often a paradox in itself, preferring a deep immersion in change and maximal ideas. That said, the charm and continuity of the moody tones bears a lot of emotional power, connection is made and we dive in.
DVG offer a very good textural ambient mood album on first “full” listen. I was impressed by the space in the recordings. The use of reverb connects all the pieces together nicely. The tracks have a concise attitude and atmosphere to them. With such staunch and sopiferous usage of source sounds, comes a fine catalogue addition.”