(Crucial Bliss)

Don’t let Megan Garland’s initial flute evolutions fool you into thinking about some sort of improvised 20th-century chamber music: after a few moments, Ross Hagen’s creature materializes to take you right into the glorious death of your senses in a furnace of gloomy dreams and textural oxidification. Reportedly generated by modifying the timbre of various sources (guitar, gamelan, shakuhachi, violin, vina, voice, flute and field recordings) until they become virtually unrecognizable, “Havens” is an enticing desolated landscape that brings right back to a time when this kind of music still had a meaning; Hagen explores the most obscure corners of those states of mind in which everything converges to a single desire, that of being completely alone in delusion. From a thick haze of condensed views, a giant wall of echoes from a visionary world slowly rises: their refractions are better enjoyed without headphones, in order to have your room’s natural reverberation contributing to this evocative blur of removed – but still scary – memories.

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