Hexa
Cleared's third album for Touch plays like a faded photograph, with only faint, dubbed-out traces left of any original instrumentation. Killer gear - like a Chain Reaction-coded take on electro-acoustic improv.
'Hexa' exists in two worlds simultaneously; the percussive, guitar-led soundscapes that dominated Steven Hess and Michael Vallera's prior material still feel present here, but they're reduced to a cinder, echoed into glitchy, rhythmic motifs that buzz and whirr rather than beat and drone. We described their last album, 'Of Endless Light' as "low-light dark ambience", and it sounds like a stepping stone between their earliest material and this latest development. This time around, Hess dubbed sessions alone in the duo's practice pad, leaving Vallera to add his own recordings and mix and process the results. It gives the album a feeling of distance: distance from the instrumentation, and distance from the process that grounded their formative sides.
The title track lays the groundwork, trapping a hissing, humid atmosphere that's only ambient if you refuse to tune into its throbbing textures. Deep, throbbing bass hits fill out the low end, and Vallera's chirring techniques are more Vladislav Delay than Deathprod. The duo's intentions are revealed even further on 'Magnetic Bloom' and 'Sunsickness', the former in its dizzy haze of subs and lower-case Vainqueur-style stabs, and the latter with its circumspect pinprick rhythm, that quivers so subtly you could almost miss it on first blush. There are still reverberations of Hess's elongated bowed cymbal work and Vallera's dazed guitar fuzz, but they've been transformed, or even evolved - 'Hexa' isn't strictly electronic, by any means, but it's not post-rock either.
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Cleared's third album for Touch plays like a faded photograph, with only faint, dubbed-out traces left of any original instrumentation. Killer gear - like a Chain Reaction-coded take on electro-acoustic improv.
'Hexa' exists in two worlds simultaneously; the percussive, guitar-led soundscapes that dominated Steven Hess and Michael Vallera's prior material still feel present here, but they're reduced to a cinder, echoed into glitchy, rhythmic motifs that buzz and whirr rather than beat and drone. We described their last album, 'Of Endless Light' as "low-light dark ambience", and it sounds like a stepping stone between their earliest material and this latest development. This time around, Hess dubbed sessions alone in the duo's practice pad, leaving Vallera to add his own recordings and mix and process the results. It gives the album a feeling of distance: distance from the instrumentation, and distance from the process that grounded their formative sides.
The title track lays the groundwork, trapping a hissing, humid atmosphere that's only ambient if you refuse to tune into its throbbing textures. Deep, throbbing bass hits fill out the low end, and Vallera's chirring techniques are more Vladislav Delay than Deathprod. The duo's intentions are revealed even further on 'Magnetic Bloom' and 'Sunsickness', the former in its dizzy haze of subs and lower-case Vainqueur-style stabs, and the latter with its circumspect pinprick rhythm, that quivers so subtly you could almost miss it on first blush. There are still reverberations of Hess's elongated bowed cymbal work and Vallera's dazed guitar fuzz, but they've been transformed, or even evolved - 'Hexa' isn't strictly electronic, by any means, but it's not post-rock either.
Cleared's third album for Touch plays like a faded photograph, with only faint, dubbed-out traces left of any original instrumentation. Killer gear - like a Chain Reaction-coded take on electro-acoustic improv.
'Hexa' exists in two worlds simultaneously; the percussive, guitar-led soundscapes that dominated Steven Hess and Michael Vallera's prior material still feel present here, but they're reduced to a cinder, echoed into glitchy, rhythmic motifs that buzz and whirr rather than beat and drone. We described their last album, 'Of Endless Light' as "low-light dark ambience", and it sounds like a stepping stone between their earliest material and this latest development. This time around, Hess dubbed sessions alone in the duo's practice pad, leaving Vallera to add his own recordings and mix and process the results. It gives the album a feeling of distance: distance from the instrumentation, and distance from the process that grounded their formative sides.
The title track lays the groundwork, trapping a hissing, humid atmosphere that's only ambient if you refuse to tune into its throbbing textures. Deep, throbbing bass hits fill out the low end, and Vallera's chirring techniques are more Vladislav Delay than Deathprod. The duo's intentions are revealed even further on 'Magnetic Bloom' and 'Sunsickness', the former in its dizzy haze of subs and lower-case Vainqueur-style stabs, and the latter with its circumspect pinprick rhythm, that quivers so subtly you could almost miss it on first blush. There are still reverberations of Hess's elongated bowed cymbal work and Vallera's dazed guitar fuzz, but they've been transformed, or even evolved - 'Hexa' isn't strictly electronic, by any means, but it's not post-rock either.
Cleared's third album for Touch plays like a faded photograph, with only faint, dubbed-out traces left of any original instrumentation. Killer gear - like a Chain Reaction-coded take on electro-acoustic improv.
'Hexa' exists in two worlds simultaneously; the percussive, guitar-led soundscapes that dominated Steven Hess and Michael Vallera's prior material still feel present here, but they're reduced to a cinder, echoed into glitchy, rhythmic motifs that buzz and whirr rather than beat and drone. We described their last album, 'Of Endless Light' as "low-light dark ambience", and it sounds like a stepping stone between their earliest material and this latest development. This time around, Hess dubbed sessions alone in the duo's practice pad, leaving Vallera to add his own recordings and mix and process the results. It gives the album a feeling of distance: distance from the instrumentation, and distance from the process that grounded their formative sides.
The title track lays the groundwork, trapping a hissing, humid atmosphere that's only ambient if you refuse to tune into its throbbing textures. Deep, throbbing bass hits fill out the low end, and Vallera's chirring techniques are more Vladislav Delay than Deathprod. The duo's intentions are revealed even further on 'Magnetic Bloom' and 'Sunsickness', the former in its dizzy haze of subs and lower-case Vainqueur-style stabs, and the latter with its circumspect pinprick rhythm, that quivers so subtly you could almost miss it on first blush. There are still reverberations of Hess's elongated bowed cymbal work and Vallera's dazed guitar fuzz, but they've been transformed, or even evolved - 'Hexa' isn't strictly electronic, by any means, but it's not post-rock either.
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Cleared's third album for Touch plays like a faded photograph, with only faint, dubbed-out traces left of any original instrumentation. Killer gear - like a Chain Reaction-coded take on electro-acoustic improv.
'Hexa' exists in two worlds simultaneously; the percussive, guitar-led soundscapes that dominated Steven Hess and Michael Vallera's prior material still feel present here, but they're reduced to a cinder, echoed into glitchy, rhythmic motifs that buzz and whirr rather than beat and drone. We described their last album, 'Of Endless Light' as "low-light dark ambience", and it sounds like a stepping stone between their earliest material and this latest development. This time around, Hess dubbed sessions alone in the duo's practice pad, leaving Vallera to add his own recordings and mix and process the results. It gives the album a feeling of distance: distance from the instrumentation, and distance from the process that grounded their formative sides.
The title track lays the groundwork, trapping a hissing, humid atmosphere that's only ambient if you refuse to tune into its throbbing textures. Deep, throbbing bass hits fill out the low end, and Vallera's chirring techniques are more Vladislav Delay than Deathprod. The duo's intentions are revealed even further on 'Magnetic Bloom' and 'Sunsickness', the former in its dizzy haze of subs and lower-case Vainqueur-style stabs, and the latter with its circumspect pinprick rhythm, that quivers so subtly you could almost miss it on first blush. There are still reverberations of Hess's elongated bowed cymbal work and Vallera's dazed guitar fuzz, but they've been transformed, or even evolved - 'Hexa' isn't strictly electronic, by any means, but it's not post-rock either.