A mesmerizing record – its composer unknown to yours truly – characterized by a multiform merging of electronic emissions, various percussions, regular instruments and objects, possibly improved by a minor degree of treated field recordings (not sure about that, though). Eerie astral moods nonetheless convey a somewhat sheltering feeling – can you spell protection? – with a few surprises scattered here and there. Throbbing low frequencies proliferate, the abstractness of the material ever present – but don’t ask me for similarities, because I can’t find any. All of a sudden, an acoustic guitar appears in “Sleep miracle”, its arpeggio furnishing an otherwise nearly robotic segment with a bucolic stroke. Compositional sagacity is at work, everything sounding carefully chosen, weighed and assembled. At first one almost doesn’t notice that the music is going, situating these sounds in the back of the mind while doing something else. As soon as focus is given, we’re captured and positively charmed, the rest rightly fitting in the overall design: as I’m writing, the remote sound of the bell tower from the adjacent town – a distinctive occurrence in this area – is properly amalgamating, as the sun goes down, with a small candlelit wonder of a piece named “Abreg Ad Habra”. “The mirror stage” is another gorgeous experience, based as it is on resonances of rubbed glass amidst overhanging counterpoints. There’s some magic in this CD, what’s needed is the right mental pattern. Very good things indeed.


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