PAUL BRADLEY – Memorias Extranjeras

(Alluvial)

An interesting change of direction from Bradley, whose drifting drones find here a counterpoint in a series of field recordings he made in Spain. The sounds were mostly captured during a street celebration by the community of Valencia; we experience a compelling mix of transcendental and concrete, where the association between the composer’s helical glissandos and hard-hitting inspections of the low-frequency domain with voices from the road, rhythmic slogans corroborated by drums and police sirens howling in the background becomes at times very involving from an emotional standpoint. Bradley’s bravura resides in his capability of finding a way for the reality to hide in a niche of unconscious memory, so that one feels like having participated to the event without actually having been there. The contrast between the oneiric submersion and the edgy involuntary orchestration generated by the human element works extremely well throughout the album, establishing a sensation of whispered intrigue that highlights this artist’s soundscaping cleverness.

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