(Naturestrip)

Listening to Loren Chasse’s constructions one can’t avoid noticing the parity among their sources; given the risk of repetition, cliches and color predominance that often are the consequence of environment-based music, Loren seems to have found the correct combination to represent natural components in all their brightness, mixing biotic sounds and concrete human manifestations with experienced sapience. For example, in “The air inside the rain” the stunning “glissando motor” Doppler effect of a flying aircraft appears out of nowhere, leaving room after a few moments to unstable pseudo-drones, seemingly made of a non-existent composite of air and metal (tape speed manipulation is not out of the equation, I suppose) that modulate unvoluntarily, just like the wind in a bottle filtered by an harmonizer. Chasse design unresolved electroacoustic problems which are just looking for the right slot in everyone’s psyche to affirm their inherent staying power.

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