Posts Tagged farchi
Here is Richard’s full review, which can also be seen here:
Four years ago Chicago based Greg Moorcroft, the sole protagonist behind Eyes Cast Down, debuted with his album “The Separate Ones”, which I was fortunate to review several months later, in May 2013. In the meantime, during 2014, second solo album “Divinations” saw the light as well as collaborative recording “Memory Palace” with kindred soul Chris Russell. “Souls Adrift, In Disrepair”, the latest album by Eyes Cast Down, which is out since July 12th, 2016, was released by artist’s own Kalindi Music label and it’s packaged in a 4-panel digipak featuring stunningly immersing paintings by Royce Deans and Tali Farchi. This strongly enrapturing interaction was firstly born during a spontaneous, improvisational setting before premiering on a live art show in Chicago at April 1st, 2012. And four of five pieces presented on this album are connected to this multimedia jam.
Nearly 10-minute “Fading Angel” reveals layers of longing guitar drones, which drift, meander, reverberate, mesmerize… Introspective, smoothly sinuating passages distinguishably commingle with intricately high-pitched ear-tickling dissonant vistas. Although the mood might be rather minimal, hidden inside are lyrically enveloping nostalgic canvas, which masterfully amalgamate with the album’s visuals.
17-plus minutes long “Astral Drift” straightly dives into jaw-droppingly gargantuan depths, humming ultra deep drones briskly invade the scene and steal this magnificently transporting spectacle. A splendiferously dronescaping powerhouse is fully activated here!!! Ephemeral overtone-like groans sneak in here and there, but the magmatic flow is devastatingly adventurous and undeniably unlocks the gates of eargasmic transcendental Eden. Around 10th minute slightly relieving glimpse arise, but that’s just an “optical” illusion as the scenario quickly finds its tracks and resurrects all drone ghosts. Eerie ocarina calls arise as well and I am still swamped with ominously unfathomable drone walls. Even my weirdest expectations were surpassed with this composition, this is certainly Eyes Cast Down at its most exquisite, monolithic and desolate, a Drone Hall of Fame awaits!!! Enter now the Void!!!
The next piece, “Sirens Of Maya”, takes me back to earthier terrains sculpted with kaleidoscaping electric strings wizardry and painting thrillingly reflective and isochronally spiraling spellbinding images. As much rawly dazzling as harmoniously engrossing!
“Transcending Memory”, another longer track clocking to nearly 16-minute mark, maintains the deeply evocative route, where subtle monochromatic drone guards above, while relentlessly helixing desolations peculiarly bridge with poignantly magnifying, yet sinisterly traversing meridians. Aberrantly engulfing listening experience awaits here each devoted ears, this is obviously another epic composition superiorly exhibiting Greg Moorcroft’s extraordinary soundsculpting techniques. Bravo!!!
Transient pounding bass drum quite unexpectedly announces 18 minutes long “At This Body’s Final Hour”, which closes this highly astonishing journey. Mysteriously labyrinthine drifts are knottily counterpointed by poignant, yet evanescent piano patterns. Hallucinatory groans and voices are hanging above, interrupted occasionally by drum outbursts. Auxiliary female chorus (credited are Dasi, Greg’s wife, & Leyla) surreptitiously sneak in and numinously augment this ambiguously shapeshifting aural phenomenon. A grand finale indeed!!!
Greg Moorcroft, who mostly utilizes 6- and 12-string and fretless electric guitars, EBow as well as synths on this tour de force recording, has shown an enormous creativity and potential. This is a sensationally prodigious album, a truly triumphant 74-minute showcase of a challenging ingeniousness by its visionary force. I somehow can’t remember what my predictions were before exploring this album, but this doesn’t really matter, because as mentioned earlier, Greg Moorcroft has blew them all away with such glorious performance. A true gem, and still enormously hidden, among the most gifted pinnacles of 2016!!! Darker than the darkest, deeper than the deepest, hats off to Greg Moorcroft/Eyes Cast Down for this milestone, which must be encountered and applauded!!! A non-glass mastered format is the only limit here…
Regarding the latest updates, the next album by Eyes Cast Down is already recorded, it’s entitled “The White Island” and it should be out during the spring. The final mixing and artwork still has to be done. And last but not least, if you live near Philadelphia, mark in your calendar the date October 7th, 2017, because Eyes Cast Down will open for the iconic ambient guitar virtuoso Jeff Pearce at The Gatherings, which celebrates its 25th year. Then, after the concert, an hour live to air on Star’s End at WXPN Radio at the University of Pennsylvania will follow. Greg, you truly deserve such exposure!!! I really wish I could join…
To get this month started on a hectic note (or cluster thereof), I played two live shows, bookending the week. They were: Sunday, April 1 at one of the empty storefronts in downtown Chicago which have been converted into temporary visual arts studios; and Saturday, April 7, at a café in northern Chicago.
Both shows involved working with live art painters. For the most part, I was pleased with how the music turned out. There may even be a nugget or two that’s fit to release on a live album down the road. Time will tell. You can hear two clips of highlights from these two shows, over 32 minutes of music, on my website’s Music page.
I also learned a ton about what works and what doesn’t, in both hardware and software setup, which kick-started an evolutionary process in the rig. One more good reason to leave the safety of the studio and venture out there!
Two things in particular stand out:
1) the software looper on which I was relying simply doesn’t work as advertised, so I was forced to buy a hardware one – a much better outcome. It’s a dreamy Roland Loop Station, which I’ve named Quincy (fellow Chicago residents will be able to figure it out); and
2) circumstance forced a new layout for the first of these two shows, which worked so well that I’ve adopted it for the studio as well as live playing. That will be a separate blog post, probably the next one.
The April 1 show was a collaboration with artists Royce Deans and Tali Farchi, who have been working with live musicians for five years. I met them through a mutual friend (thanks, Eve!) and learned about their Colorboration Project, which was just what I was looking for: a chance to play with visual artists, all working live in a spontaneous, improvisational setting. We arranged the gig on just five days’ notice, the day after I met them.
This is the piece Royce painted to the music:
As if the ante wasn’t upped enough already, I didn’t have time to get brand-new Quincy out of the box until the day before this show. But he instantly became an essential part of the rig. I use him for both guitars and percussion. One of the many cool consequences of using him is that it’s really easy (with the ability to run three independent loops) to crossfade/segue from one piece to the next so the music doesn’t have to stop. Now I want to get a second one, so I can devote one to guitars and the other to percussion and voice – which will actually simplify things. Well done, Roland!
This was Tali’s response to the music:
To exploit the spontaneous nature of the interaction with Royce and Tali – and to add to the “jumping off a cliff” factor – I decided that I would mostly improvise the music on this day. The only composed piece I played was First Day Apart. For other pieces, I had ideas of what to use, and sometimes elements set aside. Everything else came up in the moment, which was an extra bonus.
Case in point (and one of the high points of the day): Mystic Memory. I tuned Electra (my Danelectro 12-string) to Alexander Scriabin’s famous Mystic Chord. None of the usual unison or octave intervals usually used in 12-string tuning were happening here – and I started playing with a slide, which I’ve never done much until now. This piece went into some surprising, almost avant-garde territory. The slide is quickly becoming a fixture.
The other highlight for me was Om Hari Om, a largely percussive soundscape featuring voice samples from a friend, actor David Ludwig. I was really pleased with the five-minute-long fade which brought the performance to a serene close. Royce remarked that it sounded more like the music was moving away from us, rather than simply fading out. Perfect.
First Day Apart
Resounding State of Silence
Om Hari Om
The April 7 show took place at Royal Coffee, one of our favorite cafés, in East Rogers Park, Chicago. This show was about evenly divided between improvised and composed pieces.
Two artists were involved, again: paintings by Walter Palmer Burrows were on display for the evening, and Phoenix Heller painted at least half a dozen pieces to the music.
The highlight, this evening, was easily Arvo Pärt’s Fratres. If not for two small mistakes, it might have been good enough to release. But I’ll get there. It’s definitely slated for my album of cover pieces, but that’s a year or two away.
Touchstone Array, a version of a piece with Chris Russell on our in-progress Memory Palace album, escalated into a slide-guitar-and-hybrid-groove frenzy. Rebuild From Memory did the same with just guitar. In both cases, I was using Pat, my high-strung Squier Strat.
This is one of the pieces that Phoenix painted that night:
After a tempestuous Mystic Memory, a plaintive Radha’s Tears wound down the evening.
First Day Apart
Rebuild From Memory
Om Hari Om
Many thanks to everyone who turned out, and to all four artists for really bringing it – and for their enjoyment of the music. Work from all four of them graces our apartment now, and I look forward to working with all of them again. The next event with Walter Burrows – the opening of his month-long show at Royal Coffee – is already booked for May 12. Details at my website’s Events page.