Thanks for the feedback, Anthony (screeech!!!... whiiiine!!!
)
Yes, I would've expected the second set of swells to appeal more to your tastes, now you come to mention it
Re: specific comments. I know from previous exchanges that you like the cut of
Berry’s drone cloth, and can understand where you’re coming from re:
Chalk, who likes to pursue his timbral enquiry up the higher end, and somewhat more attenuated than the average dronologist. I guess I included his track to provide some high-end/light to offset the prevailing low-end/shade of most of the extracts. Interestingly, I think Chalk has been a significant influence on a later Brit-droner,
Paul Bradley, an artist who I feel (and I know you rate him too) has become a more accomplished and tonally wide-ranging practitioner. Some tracks on Chalk’s latest,
Time of Hayfield, are very much in the same zone as Bradley’s
Chroma, and, though I feel this latest Chalk is one of his best and fullest in sound, I kind of feel Bradley has surpassed his mentor.
And that
Modell/Mantra, BTW, is just 4 minutes of what is, on the
recording, a 34-minute sluicing in subaquatics, with that beautiful twilit-keys chord progression for accompaniment
That ending
Basinski loop is a lovely one – perhaps my fave of the whole of his 4 DisLoop vols. Unfortunately, I’ve never been able to get through the full 40 minutes – it’s that same chord progression over and over, with only a gradual disintegrative aspect to the texture to serve by way of developmental dynamic. I guess that (development/dynamics) is not what you listen to Billy B. for, though.
Thanks again to Dave and Anthony for their appreciative responses.
