19 August 2012

Unrecognizable Now ‎– two rooms (Kesh, 2012)

Since his debut album on 12k, "Monocoastal" (2010), Marcus Fischer has been quite busy with a bright second album on Tench, "Collected Dust", and successful collaborations with Taylor Deupree, The OO-Ray, Devin Underwood and Cory Allen.

He also found the time to record a new album with Matthew Jones for their project Unrecognizable Now which as been on the quiet side since an EP in 2008.

What I like with Marcus Fischer works is that his music possesses a strong identity, a perceptible personal touch, but without never being too invasive, rough or even invisible. In a certain way the artwork of this present release perfectly pictures in an extreme way the favorable but austere haven which is his music for me. 

It looks like an underneath shelter, safe, fresh and inviting to meditation and contemplation. It's a picture of the scenery in which "Two Rooms" was conceived and recorded. 

It's a long empty corridor in en empty office building which Marcus and Matthew invested for "Two Rooms". They totally took advantage of the acoustic reverberation volume capturing their compositions with two microphones placed at either end of the long corridor while they were playing in an adjacent room. They also used cello contributions by Ted Laderas. The closest comparison with Pauline Oliveros's Deep Listening Band about this kind of setup imposes itself as both experiences turned also into surprisingly successful records. 

It looks like it has been a quite challenging work as new particular rules have been necessary to establish within the limits of the place, in terms of interactions between walls, sound sources, air, distortions, echoes and distances.

As a listener the most interesting aspect is how textures and layers play together, creating nuances while drawing a three dimensional understanding of the area. You're not just ears, you're invited to breathe the whole volume. While listening to it, I just imagine myself, laying with my body on the hard concrete surface while my eyes are following the limits of the lightened walls. There are four tracks between six and eleven minutes on this record and two additional remixes, one by Kane Ikin and the other one by Simon Scott.


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