(White Line)

As I’m writing, the player is spinning this disc for the fourth consecutive time. One of the many things that define Keith Berry’s seriousness is his reluctance to publish unnecessary albums, in an obvious countertendency with practically everybody in the world of in-depth electronica. Therefore, along the wait for the next official CD, this 3-inch by Fourm (B.G. Nichols) can help in reminding why people should always remember the Londoner’s contribution to the elevation of post-ambient soundscaping to a real form of art. Although starting with a pretty dramatic, almost cinematic throbbing drive, the 21-minute composition “Void path” possesses a sacred aura of sorts, particularly explicated in the second half, which sounds like a muted funeral mourning wrapped by a bubble of liquefied rubber foam. The current generated by these pseudo (?) vocalizations – slowed-down records, maybe? – evidences its low-frequency component by spreading all over my listening space, while being slightly disturbed by abundantly reverberating noises and samples that agitate the music only the strict necessary to avoid a complete standstill. A luxuriously intense piece, where both the original sources and the manipulation work contribute in equal measure to the achievement of the prefixed goal. The hunger for new material by Berry is now even more biting.

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