(Creative Sources)

Utilizing feedback synthesizer, radios, a small theremin and computer, Kasyansky modulates air particles and luminescent frequencies into intermittent contacts with a sonic aura that’s pretty difficult to delineate. The fascination brought by the ether’s byproducts – enhanced by the difficulty of clearly detecting the contained messages – has always been an excellent territory of exploration and invention for artists such as John Duncan and Keith Rowe, not to mention the CONET project. “Light and roundchair” adds the synthesis element to the equation, transforming these barely discernible presences into an appreciation of seclusion where voices, strange noises and acute sybilances establish an invisible control over the brain, which is forced to recognize those signals by anomalously filing them in an unusual archive. Listening by headphones is recommended to catch the minuscule particulars of this silently effective album, which in one of its tracks – precisely, “Turnover” – is also somehow comparable to a stripped down version of David Lee Myers’ digital delay-based investigations.

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