After releasing music by a number of intriguing artists on his own And/OAR imprint, Dale Lloyd comes back as a composer with this limited edition on picture disc, and he does it with a vengeance. Hard as one tries, classifying this work is awfully problematical. Maybe these sounds were born to stimulate the less comforting sensations residing in our head and pierce a deceptive idea of protection through an uninterrupted generation of disbelief. These uncertainties involve both the utilized sources and ourselves, observed in the cosmically irrelevant role of discreditable entities that should remain speechless for ages before even trying to utter a word about what the awareness of a pure phenomenon really means.
In essence, Akasha_For Record is a series of sonic pictures whose incidence on the close environment’s resonance is sinisterly effective, and the equivalent can be told of its psychological consequence. Lloyd focuses on a restricted quantity of constituents to develop soundscapes that amplify the need of personal seclusion. The responsive listeners are going to face perplexing echoes and concrete-yet-mysterious compounds that may sound recognizable for a moment. Still, when they’ll try to detect the exact cause of an illusory fulfillment (or, more properly, of the subsequent distress), regret will be awaiting behind the corner. The nearly indistinguishable features of several of these infected vistas – halfway through metropolitan undertones and Thomas Köner’s exploration of forlornness – materialize for a while; afterwards, they either vanish completely or morph into some sort of ill-fated, unhealthy luminescence. A mere figment of the imagination, symbolizing the unfeasibility of determining what is the specific factor that, at the same juncture, cuddles solitude and scares like an ominously silent threat.
The contriver writes that the vinyl constitutes a primary component in the procedure, accumulating “dust, pops, crackles etcetera over time”. My copy doesn’t seem to cooperate in that sense, except perhaps for the incomparable needle-in-groove low rustle at the beginning and end of each side. But what I’m convinced of is that we are indeed dust, an insignificant graffiti waiting to be sandblasted off the existence's wall by the pressure of unconcern. This splendid album is a perfect reminder of the man’s miserable condition of deluded omadhaun, and an anticipation of the kind of acoustic intuition that will probably be met when, at long last, the process of human failure on this planet has reached its ultimate stage.
Elevator Bath
