A bold statement in the liner notes: ‘There is no progress in art’. (I personally would have added an exclamation mark).
This is followed by some philosophical musings about the relationship of art with time, and ‘with its time.’ And about the fact that the ‘sounds we hear on this album are grouped in a harmonious relationship’, are ‘a deliberate escape from the linearity of chronological time and the appetite for another, imaginary time, which allows for the most diverse and strange associations.’
Sounds somewhat pretentious and difficult to grasp perhaps, but don’t let that put you off. After all, the most interesting ‘ambient’ music should make you lose track of time. And, above that, may also reveal an uncanny yet familiar strangeness.
The music on this album consists of improvisations on an Iberian pipe organ built in 1801, played by Xoán-Xil López, in a sonic dialogue with the electronics and field recordings performed by Haarvöl: Fernando José Pereira and João Faria.
The four tracks on this album all ‘contain a certain degree of familiarity that is simultaneously undermined by an inherent strangeness’, demonstrating what Freud meant with his notion of ‘unheimlich’. But you’ll probably feel that ‘familiar strangeness’ even without reading the liner notes.
via Ambient Blog