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Il tempo, il paesaggio, le immagini e le sensazioni da essi veicolate continuano a essere al centro delle creazioni di Monty Adkins, che in due lavori paralleli applica un a ne approccio sinestetico alla composizione ambientale. A Year At Usher’s Hill mette in luce il pro lo più emozionalmente accogliente del sound artist inglese, racchiuso in undici placide tracce incentrate su brevi loop e stille armoniche echeggianti in un ambiente sonoro ariosamente ovattato. La dimensione spaziale permane elemento decisivo dell’espressione di Adkins, de nita da semplici note pianistiche e decompresse texture organiche, dalle quali prende forma un’impressionistica ambience orchestrale. Pressoché in contemporanea l’artista inglese propone due lunghe tracce su cassetta, realizzate in collaborazione con il pittore Andy Fullalove. Come gli strati di colore danno forma a un’immagine, così Adkins lungo i venti minuti ciascuna di Sounds Of The Shadow e di Sounds Of The Sun dispiega una sequenza di chiaroscuri sonori sotto forma di esili drone e risonanze incorporee. I temperati contrasti che ne risultano si so ondono nelle spire di un’ambience espansa e profondamente meditativa, propellente liquido. Raffaello Russo

“Shadows And Reflections” aims for ‘a sense of meditation, contemplation and relaxation’ as it develops sonic ideas originally created for an audiovisual exhibit at Bradford Cathedral in 2016 that drew inspiration from the restored altarpiece and stained glass windows of the cathedral. Designed for the cassette format, it’s two twenty-minute pieces of warm, comforting, eventless drone soundscape with a decidedly ‘empty church’ feel.

This is simple, floating ambience that can’t help but induce a sense of steady calm. The evolution of the tones is imperceptibly glacial. The second piece “Sounds Of The Sun” has an ever so slightly more tubular, metallic resonance to it, but I may only think that because my brain started to adapt to the noise level as its new normal.

Thankfully it’s available digitally too, as the often soft and subtle soundscape can’t really benefit from tape hiss- it’s a very purist bit of soundscaping that’s pleasantly soporific and attention-avoiding. Stuart Bruce

via Chain DLK

With his impressive back catalogue, Monty Adkins has become one of my favourite artists (if you’re not familiar with his work, don’t forget checking out Four Shibusa, Rift Patterns, Borderlands and Unfurling Streams).
So it’s great news when two new albums are released almost simultaneously:

The first of these two is Shadows And Reflections, released on the Crónica label in a cassette and download version.
(No CD version to my regret, since I think this album deserves a ‘proper’ release with a better sound quality than the cassette tapes can offer. But, judging on their latest releases, tape is the medium of choice currently for Crónica.. Of course ordering the tape also includes a high-quality download too).

The album presents two 20 minute tracks (Sounds of the Shadow and Sounds of the Sun), built from organ samples performed and recorded by Monty Adkins. On first listen this could be classified as drone music, but in fact a lot is happening in the layering of the organ sounds, and the pieces build up to a climax in a way that defies the strict definition of ‘drone’. (Not that this matters in any way, though)

“In the two parts of the work Adkins wanted to induce a sense of mediation, contemplation and reflection. He wanted the sound to be constantly, though in some instances imperceptibly, changing so that one remained mindful of the music rather than allowing it to drift in to the periphery of one’s consciousness. For Adkins, the focusing on a single organ timbre over an extended duration encourages a more attentive perception as the ear is drawn in to the micro-fluctuations within each of the extended phrases. One’s sense of time is dilated and there is a sense of envelopment within the soundworld.”

There’s no mention of what organ is used for the recordings, but there’s a strong association with the timbres of a church organ. Which would be appropriate, because these pieces were created for a multimedia exhibition at the Bradford Cathedral to interact with fourteen paintings by Andy Fullalove (as well as with the light from the stained glass windows in the Cathedral). An example of Fullalove’s work can be seen on the album cover.

Listening to this music (with the acoustics of the large cathedral it was played in) while enjoying the interaction of the paintings with the ever changing light must’ve been a moving experience. When listening to it in your private surroundings, the visual part is missing of course. But it’s still a moving experience anyway. Peter van Cooten

via AmbientBlog