MYSTERY SEA 12 | Dale Lloyd | [Aionios The Fundament]


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- "This fundament is absolute, yet manifests in that which is perceived as being imperfect. This fundament is immutable, yet manifests in all that changes. This fundament is impalpable, yet manifests in the imagination. This fundament is immeasurable, yet manifests in that which can be measured. This fundament is silent, yet all that can be heard manifests from this silence."

- Dale Lloyd, January 2004


Dale Lloyd is an experienced US sound artist with a deep interest in environmental recordings that he promotes passionately through his own and/OAR label...
Besides, he's also the originator of the field recordings based PHONOGRAPHY compilation series...
Looking into the convergences between micro and macro aural events,
Dale dissects and transmutes his materials to disclose an innermost essence...
"Aionios The Fundament" is his fluidic ode to an underlying evasive permanence...
In this gently sizzling sea, waving filaments, veins of salt, are all flowing back to some secret heart...
an engulfed receptacle where drips a thin rain of ageless murmurs...
From the opened shrine appears a tracery of filets, spreading like so many paths to apprehend our surroundings from a different angle...
"Aionios The Fundament" is an incursion behind and beyond structures where all the hidden, subtle forces coalesce...
a place of contemplation and enhanced perception,
and ultimately, an amazing new starting point...


01. saline crystals born of mother solutions
02. adamite effluvia
03. a degree more corporeal than air
04. a degree less corporeal than water
05. this sea, our lodestone




Rated : 4 out of 5
Dale Lloyd's field recordings for Aionios The Fundament have an instant density in layers of unfiltered, hollow, organic chambers. With the radiance of mercury swimming through an endless pipe, and cover art that projects the shadowy depths of the murky unknown Lloyd is reaching deep into his psyche to offer something not unlike a pearl in his very own shell. Poetically dissonant, "Saline Crystals Born of Mother Solutions" rustles and streams, croons and gurgles. Lloyd is more a choreographer of the elements than a straight shot musician, which makes this seem like an outsider's perspective - one akin to a geologist perhaps. This recording reminds me of some live work I have seen by fellow field recording artist Seth Nehil. Over five tracks and 48 minutes Lloyd takes us to atomic places formerly hinted at by Wolfgang Voight and Carsten Nicolai. His sublime rendition of "Adamite Effluvia" is a daydream inducing headtrip. Sound as satellite. "Aionios The Fundament" creates a sensual meditation, cleansing your mind, eradicating the incidental, drenching it, quenching it.

Touching Extremes |Massimo Ricci
Preserving the essence and the spirit of his field recordings, Lloyd showers our ears with elemental beauties, incorporating concrete sounds and expert processing in five austere, almost sacral assemblages. Ominous landscapes, made wet by sapient dissolvences, alternate with hisses and crackles seemingly out of some extraterrestrial backdrop, while darkness and light find their correspondence in a mutual respect. Time fathoms our chaotic life disposition, disregarding our imperfections to fog our nerves in a gauzy perceptivity: this is a vast and involving soundworld, where changes and mutations occur very slowly. We're given all the necessary tools to adapt to this well developed set of spectral experiences.
touching extremes

VITAL WEEKLY 412|Frans De Waard
Aionios The Fundament : Dale Lloyd shouldn't be too unknown by now. He has various releases out, mostly on CDR, but also as MP3 on the internet ; and his interest lies mostly in using field recordings. On the ever so nice Mystery Sea label he has a release with five tracks using treated field recordings from 2002-2003. Upon hearing this music, it's hard to tell what the nature of these recordings are, as Lloyd gives them a lot of sound treatment. All of the sounds are treated beyond recognition and warped up, forming a mystery of their own. Lloyd keeps clearly in mind for which label he is working, as the whole thing sounds very much in spirit of the previous ambient related works on Mystery Sea. My best guess is that Lloyd treats a lot of different water recordings, from rain to the kettle boiling and beyond. Five pieces of carefully treated stuff that bare a lot of tension underneath (such as the wind-like sounds in "A Degree Less Corporeal Than Water" which is like a big storm coming), which makes into a very powerful and one of the best Mystery Sea and Dale Lloyd releases so far.
vital weekly

WIND & WIRE |Ben Fleury-Steiner
For those of you unfamiliar with the work of Dale Lloyd, let me take this review as an opportunity to introduce you to a wonderful artist. For the past three years, as owner of the and/OAR label, Lloyd has led a burgeoning community of interesting environmental and field recording artists. I suspect to be hearing and thus writing a lot about and/OAR artists for future editions of Wind and Wire. But first I turn to Lloyd's latest - a non-and/OAR release from Daniel Crokaert's wonderfully sublime Mystery Sea label - Aionios the Fundament.
What is most fascinating about Aionios the Fundament is the way that each track expands sonically - that is, with little repetition - from one into the next. This is a work of very subtle detail that promises discovery with each listen. Beginning with the soft stuttering cadence and water-through-a-barrel hum of "Saline Crystals Born of Mother Solutions," Lloyd, in effect, splashes a blank canvas with a clear, watery and whispery alchemical mixture. This is indeed the "birth" of Lloyd's fundament - the barest structural details - from which this "aionic" embryo will grow. As the watery echo of swirls come closer into the audio field the track ends and, sure enough, track two, "Adamite Effluvia," takes on a kind of maturation from its predecessor - that is to say, it gains a thicker layer of pulsing flesh. It is remarkable that this recording was constructed entirely from field recordings obtained primarily from sound sculptor extraordinaire, K.M. Krebs. Lloyd's mixing of different sounds and his subtle volume adjustments create a truly rich and absorbing listening experience. "Adamite Effluvia" is a clear example of how Lloyd's creative use of panning in the recording process can utterly build on a sound's overall aesthetic - in this case, a slow and circular tumbling of cans bathed in a static effervescence that provides surprise with its sudden and abrupt ending. It is difficult to find a clear reference point when considering Aionios the Fundament. On the one hand, it exhibits all the wonderful mysteriousness of a master such as Asmus Tietchens or the provocative and multi-layered soundings of newer artists like Wilt or Heath Yonaites, but Lloyd is more inclined to a slower, more patient unfolding of sounds than most experimentalists. Tracks 3 and 4 explore the corporeality of air and liquid respectively. Once again Lloyd demonstrates his fascination with sounds at the audio interstices of white noise and ambience. Both tracks extend into open drone canvases - track 4, "A Degree Less Corporeal than Water," surges with even louder washes of breathy, shimmering rapids than its airy predecessor. Underscoring the flow of water, we hear additional layers of sporadic pops and pulses, as if hydrogen atoms are on the very cusp of becoming a liquid-one with lingering oxygen that is just out of reach. When we are finally taken into the actuality of the sea on "This Sea, Our Lodestone" the once embryonic mixture of saline crystals that began Aionios the Fundament is now a heavily reverberating curtain of thunderous drones. Highly recommended.
wind & wire

AMPERSAND|Jeremy Keens
Aionios The Fundament: Phonographer Dale Lloyd (one of the Union Of Seattle, and compiler of the Phonography compilations) composes Aionios The Fundament (MS12). The first track (Saline Crystals Born Of Mother Solutions) -- is almost half the whole disc -- opens with water ventish, with a deep pulsing bass (which is a feature throughout), lapping and rolling, voicey and organic, shifting to hissing rainy shimmers, rattling with under-organ, stutters to pulsing as a drone gathers, rains and hisses in. The next track shifts from a whistly high scraping-scream voice, into a vinyl-loop crackle with a hint of voice ; the whole being quite ethereal.
Oceanic is the ebb and flow of A Degree More Corporeal Than Air, layering a flowing scrape-whistle, and slowly decaying glitter-cycle over a very deep rumble that sounds like a mic in the wind, with the hiss more left and the rumble, a right-channel response, into a dense washing (is it a wave or a train?) with the rumble and then a jiggery skitter.
Finally, the majestic beauty of This Sea, Our Lodestone, high ringing tones, often voicey, over deep bass, vents to a long and vibrous ending.
A lovely

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