SEA 14 | Pholde | [Relating to the ultimate
"Sonic expulsions of lava-like intensity seep within the cranium.
There, it explores your darkest dreams and desires only to rise out
and envelop your entire being."
- Alan Bloor,
haunting metalscapes is canadian artist Alan Bloor,
also founder of much more noisy alter ego KNURL...
Pholde's inaugural sound explorations started in 2000,
but Alan's personal musical history dates back as far as to the mid
At that time, he already collaborated to various poetry & dance-performance
On "Relating to the ultimate purpose", constant
vibrations inflect corrugated fields of trembling waves...
a ballet of deep-seated fluctuating resonances soak our roots...
A buzzing mass surges like a dark blue glazed sea...
storms of frictions & rubbings reveal an underlying second nature...
Each gesture is sedate...
"Relating to the ultimate purpose"
is an expanding vast invisible map wandered by indescribable
a huge quivering sheet...
a lucid experience...
a twilight dream where less becomes more...
Opposite in position
02. Matter in suspension
+ listen !
04. Between two parts of a structure
05. A porous article
06. Relating to the ultimate purpose
07. Representative of another
+ listen !
is also part of the slowly expanding imperium of Mystery Sea.
Unlike others on Mystery Sea, Pholde plays seven tracks
(as opposed to just a few very lenghty ones), but the strange thing
is however that it's hard to see them as different tracks.
The experience of the soft metal scraping, an occassional bang and tons
of reverb is one lengthy track of highly underwater ambient.
A deep sea soundtrack of a submarine with no windows, but still being
able to swim forward.
Small rocks are being hit against the submarine and fish swim by.
Mystery Sea, a label devoted to the more fluid character of ambient
music, have succeeded to add another fine example of the label philosophy
to their catalogue.
Extremes |Massimo Ricci
music through the reverberation of metals is Pholde's
field of work. Alan Bloor treats them with different
approaches as opposed - for example - to a Dave Jackman or a Z'ev: his
art uses length and resonance to build rumbling cathedrals of superb
irregular harmonics. Crossing low and high frequencies in thudding forms
and rolling thunders, the Canadian (who also played with Aidan Baker's
ARC among others) presents us with a series of spellbinding explorations
of deep connections to the high spheres of acoustic cosmos.
Bloor's messages contain a large dose of rigorous seriousness
that are the perfect contrasting element to those moments where sudden
outbursts of clangour could bring the music out of control; instead,
Pholde regroups his forces into cohesion, restraining
his textural emanations to the core of significance.
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