Haarvöl + Xoán-Xil López’s “The Uncanny Organization of Timeless Time” reviewed by Vital Weekly

In terms of abstraction, I am probably better off with Portuguese trio Haarvöl, of whom I reviewed some previous albums. Here they have a new work in which band member Xoán-Xil López (who seems to be a full-time member now) plays an Iberian Pipe Organ, and Fernando José Pereira and Joao Garia play electronics and field recordings. At the core of this, “there is no progress in art”. It’s all about the relationship between sounds and making that sound great. Haarvöl does a great job here. The old organ (from 1801) versus modern technology delivers four pieces of great drone music. While I know the group’s previous works to be inspired by the world of musique concrète techniques, to some extent, at least, there is very little of that here. Maybe the odd ending here and there, but throughout, it is simplicity that rules around this work. And for so much the better, to be honest! I realise this might be a conventional work of drone music, created with an ancient organ and digital processing, culminating in four beautiful pieces of music. Still, I also think this is the group’s best work. It’s warm and digital; its drone and natural and field recordings play a minor role in these four pieces. They are well-hidden but once removed, one notes the absence of these field recordings (children playing, rain drops), so they fully add to the wonderful music. What a great release! Maybe the favourite of this week, even when it’s still early. (FdW)

via Vital Weekly

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