Easily the most minimal album posted here to date. While perhaps not reaching Sugimoto or Sachiko levels of silence (there is, in fact, material (you guessed it, sines waves) playing consistently for the duration of the album), I nevertheless sincerely wish you luck on attempting to focus on the music alone for the full 1:19:42 over which this album . . . hovers.
I learned of Matthew Earle‘s work largely through his collaborations with other (generally Australian electroacoustic) artists, including Will Guthrie and Anthony Guerra. Never sure of who was contributing what, this release helps clarify Earle’s contributions to their collective releases. Not really music for headphones, the tidal amplitude and beat frequencies which span the first two tracks are somewhat ritualistic in their effect on the listener’s attention. I was consistently lulled into brief solipsism before noticing some faint phasing effect, or a new pulsing signature. There is certainly something about frequencies in the high ranges present in this work that promotes introversion.
As for the third piece, unsure of whether what I was hearing when I turned up the volume was in fact simply the noise from my analogue pre-amp, I decided to import ‘Composition for 1 Sine Wave’ and check out the waveform. To be fair, the prior two pieces, using 2 and 3 sine waves respectively, show a bit more amplitude and detail . . .
The kind of song you leave on in the background to test your friend’s and family’s hearing . . . and unnerve yourself at 2 AM.
I should point out that Earle has a new album entitled Draught, on which he collaborates with the aforementioned Will Guthrie as well as Jason Kahn. That album is available at the Consumer Waste site, and a review can be found at Fluid Radio.