Many thanks to John Shanahan (Hypnagogue) for his deep listening and enthusiastic review. The support of deep listeners like John mean more to us than we can say!
John’s original post is here.
Me, upon receiving Memory Palace: “Excellent! A collaboration between two artists who do lovely, quiet stuff.” Me, after listening: “Wow! That was not what I expected!” Perhaps my expectation was skewed; both artists, Chris Russell and eyes cast down (aka Greg Moorcroft) do tend to work shades of darkness, hints of dissonance and touches of tribal into their individual work. But here, they ramp all that up into a pulse-driven, drum-loaded outing that still speaks most often in a restrained voice. Having called out another artist for adhering a bit closely to the Steve Roach model, I would note that bits of it show up here as well. The opener, “Primitive and Prime,” is familiar territory, pushed along on space-opening drum work from Moorcroft and wide, misty atmospheres from Russell. The influence is clear but the piece stands alone based on its deep groove and the deliciously hypnotic quality of the electronics. You get it again at the end of the disc with “Somewhere the Circle Stops,” which sounds much like a lost track from Roach’s Trance Spirits. Moorcroft takes the front here, weaving several drum lines into a complex and potent structure. Russell’s soundworlds here move as slow as incense smoke, soft washes that sometimes take on a growling, almost didgeridoo-like edge. Outside of that, while the influence still colors the proceedings, Russell and Moorcroft head off into their own zones. “Spatial Mnemonics” has an industrial clatter to it, all serving more of the kind of interlaced rhythms that are the centerpiece of the album. It’s a little dark, and it works. “Touchstone Array” is a fast-paced piece with an up-front analog feel. Glitchy snips of sound tap out a rapid-fire rhythm over slow pads for a nice contrast. However, my only complaint on the whole album comes from this track. The lads play with some high-pitched sounds, one of which sounds—to me—like a kid’s party favor bring blown in one ear over and over. Just like that, I’m pulled out of the track. (It’s playing as I type this out and, honestly, I just want to punch it.) Luckily, that passes and I let myself focus on the cool electronic rhythm work. “Afterimages” quiets things down with an ambient flow lightly touched with (I believe) rain sounds, shakers, and the lightest touch of percussion on the whole album. There’s a very cool effect late in the track where it rises up just a little—a nice touch. On these five tracks, the artists allow themselves a wide time frame in which to craft each piece; the two shortest run about 11 minutes each. Within that frame, they explore and codify their chemistry and justify their initial decision to challenge themselves to do a beat-based album. Memory Palace is an excellent deep listen; Russell and Moorcroft both love their details, and they are plentiful here, so dig into them. An excellent collaboration between two good artists. Well worth listening to.
passersby, clouded aircraft