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Review

Jeph Jerman, The Squid’s Ear, 1 octobre 2018
lundi 1 octobre 2018 Presse

Jeweled miniatures constructed of fingerpicked guitar arpeggios and electronic treatments. Quiet and contemplative, like studying the patterns of shifting light and shadow on your afternoon wall.

Distillations offers clouds of harmonics with squelchy, wheezy organ tones accreting. A few of the pieces stop dead and change tack in an arresting manner, not so much jarring as re-aligning, an intake of breath. The longest piece, Porcelain 360 has metallic, vibraphone tones and weird bent organ swells, a toy piano amid careful chord shapes which gradually gain speed and density over its twelve minute running time. Lopsided, but still managing to maintain a sense of development. Marcher sur la glace has a stuttering, leslie speaker feel, and Stalactites et stalagmites sets up a stately series of strummed chords with hovering held tones that gradually becomes more harmonically complex.

For some reason I am reminded of a weighted hanging thread, slowly spinning one way and then the other, throwing tiny shards of fiber in graceful arcs as they glide to the floor. Somewhat hidden inside the cover are chord diagrams and short bits of musical staff, which I unfortunately cannot read.

Jeweled miniatures constructed of fingerpicked guitar arpeggios and electronic treatments. Quiet and contemplative, like studying the patterns of shifting light and shadow on your afternoon wall.

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