(Twenty Hertz)

Sometimes it’s good to know that the music we’re going to listen to won’t surprise us, especially when sure that it will enable our nerves to lighten up the tension and our body to fluctuate in crossing currents of stimulating waves and heartrending drones. “Chroma” continues to report about Paul Bradley’s voyage through the spheres of electric/electronic prayer; no indications are given about the instrumentation – as always with this soundscaper – but I’m willing to guess that a dose of bowed strings is in there. The seven movements are among the best things that I heard from the English composer, symbols of an otherwordly contemplation whose intense radiance puts our vital functions in standby mode, as we’re left suspended in amazement and stirring emotion. The consecutive wonders of the third and fourth parts are a metaphorical representation of the perfection and the self-centering to which human beings should ideally aspire to; then it’s all the more annoying that, once we’re brought back to senses after the record’s over, we must start again from square one, dealing with delusional individuals and overboard physical specimens whose presence is nothing but disturbing and debilitating.


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