Empty, Expanding, Collapsing
Glacial keys and drones from arid Western Australia, shaped into introspective domestic hush and more epic post-rock scapes for Lawrence English’s Room 40
Aussie sound artist Matt Rösner uses an upright piano to form the basis of reverberating electronic compositions that don't sound a million miles from Alva Noto's collaborations with Ryuichi Sakamoto. 'Empty, Expanding, Collapsing' started life as a sequence of piano improvisations that Rösner proceeded to overdub with guitars, synths and percussion that were "aged with sounds of the surrounding dune systems seeping through the wafer thin studio walls".
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Glacial keys and drones from arid Western Australia, shaped into introspective domestic hush and more epic post-rock scapes for Lawrence English’s Room 40
Aussie sound artist Matt Rösner uses an upright piano to form the basis of reverberating electronic compositions that don't sound a million miles from Alva Noto's collaborations with Ryuichi Sakamoto. 'Empty, Expanding, Collapsing' started life as a sequence of piano improvisations that Rösner proceeded to overdub with guitars, synths and percussion that were "aged with sounds of the surrounding dune systems seeping through the wafer thin studio walls".
Glacial keys and drones from arid Western Australia, shaped into introspective domestic hush and more epic post-rock scapes for Lawrence English’s Room 40
Aussie sound artist Matt Rösner uses an upright piano to form the basis of reverberating electronic compositions that don't sound a million miles from Alva Noto's collaborations with Ryuichi Sakamoto. 'Empty, Expanding, Collapsing' started life as a sequence of piano improvisations that Rösner proceeded to overdub with guitars, synths and percussion that were "aged with sounds of the surrounding dune systems seeping through the wafer thin studio walls".
Glacial keys and drones from arid Western Australia, shaped into introspective domestic hush and more epic post-rock scapes for Lawrence English’s Room 40
Aussie sound artist Matt Rösner uses an upright piano to form the basis of reverberating electronic compositions that don't sound a million miles from Alva Noto's collaborations with Ryuichi Sakamoto. 'Empty, Expanding, Collapsing' started life as a sequence of piano improvisations that Rösner proceeded to overdub with guitars, synths and percussion that were "aged with sounds of the surrounding dune systems seeping through the wafer thin studio walls".
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Glacial keys and drones from arid Western Australia, shaped into introspective domestic hush and more epic post-rock scapes for Lawrence English’s Room 40
Aussie sound artist Matt Rösner uses an upright piano to form the basis of reverberating electronic compositions that don't sound a million miles from Alva Noto's collaborations with Ryuichi Sakamoto. 'Empty, Expanding, Collapsing' started life as a sequence of piano improvisations that Rösner proceeded to overdub with guitars, synths and percussion that were "aged with sounds of the surrounding dune systems seeping through the wafer thin studio walls".