Articles
2010 Artist Picks
Francesco Tristano
Albums
36
Access To Arasaka
Aeroplane Trio
Christian Albrechsten
Gilles Aubry
Andreas Bick
Wil Bolton
Caroline
Chaim
Scott Cortez
Dead Voices On Air
Margaret Dygas
F. Gerard Errante
Seren Ffordd
Field Rotation
Marcus Fischer
The Ghost of 29 Megacycles
Tania Gill
Gord Grdina Trio
Herion
Hummingbird
Ironomi
Yoshio Machida
Machinefabriek / Liondialer
Phil Manley
Matta
Mem1
me:mo
Miko
Momus
Moshimoss
Roger O'Donnell
orchestramaxfieldparrish
Cédric Peyronnet
Resoe
Danny Saul
Dirk Serries
Shedding
Clive Tanaka y su orquesta
Robert Scott Thompson
Two People In A Room
Undermathic
Wires Under Tension
Clive Wright
Compilations
Joachim Spieth Selected 6
Playing with Words
Reconstruction of Fives
20 Centuries Stony Sleep
EPs
Balmorhea
Clara Moto
d_rradio
Deepgroove
Kyle Bobby Dunn
Fear Falls Burning
Hammock
ptr1
Quiroga
Sawako
Kyle Bobby Dunn:
Pour les octaves
Peasant Magik
The tone of Kyle Bobby Dunn's Pour les octaves is very much in the spirit of the double-CD 2010 release The Young Person's Guide to Kyle Bobby Dunn (Low Point). With two becalmed pieces split across the cassette's two sides, Pour les octaves feels in some measure like the earlier release distilled into miniature form, even though Pour les octaves' material was composed and arranged by Dunn for PSR (a portable keyboard) and guitar during 2004-05 (and therefore presumably before the Low Point release).
Regardless, the cassette's material is every bit as lovely. Pitched at low volume, side A's “PSR Music for Jennifer Schull” interlaces graceful synthetic swells and minimal guitar elements for seventeen immersive minutes; tones rise and fall in breath-like manner until the guitar presence disappears, leaving the softly shimmering chords to build into a crescendo of sorts that wavers in place for several minutes. The even gentler “Remnants” unspools for twelve serenading minutes on the flip side with the soft ebb and flow of organ-like melodies the primary sound—until, that is, a bell-like tone appears two-thirds of the way in. By way of compliment, one notes that at times during this release, Dunn's sound—and even the Pour les octaves title—could very easily be mistaken for Celer.
January 2011