While the ambient music subgenre of field recording has already been heavily explored, there is a renewing naivete I find in layering protoconversation and young children’s laughs and chatter onto monoid synth. While children can come out with the most random question of reality at uncertain times, monoid synth drone matching with vocals is something still refreshing and wonderful. The happy/sad neutralising is enigmatic.
‘Field Recording Meets Sound’ is a superb exploration of the will ‘o wisp burn of good ambience in a post-youthquake environment of milleni-mania. The sleepy-eyed and toxic nature of drone impregnates the surface sheen of the quality dorian-led sounds, and the nascent lack of solidified scales lends the music a naively posited professionalism, hence a between-state, a purity of fashion.
The opening to the record conjures up a bustling city street, cars passing and humans moving bumper to bumper of the drone’s base-line. There is a cordial overlap between choral music and musique concrete; voice shards blend into a smoothie mush against the very Pausal and Rafael Antoni Irissari esque hum of the record. Meaning to placate emotionally the roundabout encirclement of the somehow managed vocal loops, there is a majesty of tapestry coagulated through forceful re-clustering of the central vocal/synth sound set.
A gripping element of the music is its immediate joility and then its spreading of aesthetic colours into a peacock tail kaleidoscope of sometimes languid, occasionally touching and regularly haunting passages.
What particularly excites and succeeds about this album is its candour. It sounds innocent. Always of its time; never pretentious. These feelings you get channeled from the drones are contentment based. Recommended!