supported by 6 fans who also own “five strings IV”
Blurring the division between found sound and music, I love the way Look At That One evolves from seaside sussuration into an endless drone. Like the shoreline at incoming tide, hard to tell where one texture ends and the other begins. The final track's nagging guitar chords push at the senses with a firm insistence that carries the music onward yet remains fixed, turning endlessly without moving. A quiet, gentle odyssey. Modern Music Dan
supported by 6 fans who also own “five strings IV”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt