Katelyn Clark and Mitch Renaud
Ouroboros
Canadian early music obsessives Katelyn Clark and Mitch Renaud use a medieval-style pipe organ and modular synth to transgress time and space on 'Ouroboros'.
We're at a point where we'd probably urge you to avoid any new xenharmonic organ records, but 'Ouroboros' is intriguing enough to warrant your time. Clark and Renaud don't sound too interested in using the pipe organ's sacred power to trigger our fear and awe, they're more interested in the tonal fluctuations that early instrumentation provided.
Clark has worked with historical keyboard instruments extensively in the past, and plays a pipe organ based on a 14th-century instrument, and it's the way the sound merges with Renaud's modular feedback system that's truly remarkable. Focusing on the psychoacoustic phenomena that occurs when the tones react with each other, the music constantly shifts and mutates - it's not church music, it's a hypnotic, minimalist experiment that's surprisingly unique. Well worth a listen if you've rinsed the canon.
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Canadian early music obsessives Katelyn Clark and Mitch Renaud use a medieval-style pipe organ and modular synth to transgress time and space on 'Ouroboros'.
We're at a point where we'd probably urge you to avoid any new xenharmonic organ records, but 'Ouroboros' is intriguing enough to warrant your time. Clark and Renaud don't sound too interested in using the pipe organ's sacred power to trigger our fear and awe, they're more interested in the tonal fluctuations that early instrumentation provided.
Clark has worked with historical keyboard instruments extensively in the past, and plays a pipe organ based on a 14th-century instrument, and it's the way the sound merges with Renaud's modular feedback system that's truly remarkable. Focusing on the psychoacoustic phenomena that occurs when the tones react with each other, the music constantly shifts and mutates - it's not church music, it's a hypnotic, minimalist experiment that's surprisingly unique. Well worth a listen if you've rinsed the canon.
Canadian early music obsessives Katelyn Clark and Mitch Renaud use a medieval-style pipe organ and modular synth to transgress time and space on 'Ouroboros'.
We're at a point where we'd probably urge you to avoid any new xenharmonic organ records, but 'Ouroboros' is intriguing enough to warrant your time. Clark and Renaud don't sound too interested in using the pipe organ's sacred power to trigger our fear and awe, they're more interested in the tonal fluctuations that early instrumentation provided.
Clark has worked with historical keyboard instruments extensively in the past, and plays a pipe organ based on a 14th-century instrument, and it's the way the sound merges with Renaud's modular feedback system that's truly remarkable. Focusing on the psychoacoustic phenomena that occurs when the tones react with each other, the music constantly shifts and mutates - it's not church music, it's a hypnotic, minimalist experiment that's surprisingly unique. Well worth a listen if you've rinsed the canon.
Canadian early music obsessives Katelyn Clark and Mitch Renaud use a medieval-style pipe organ and modular synth to transgress time and space on 'Ouroboros'.
We're at a point where we'd probably urge you to avoid any new xenharmonic organ records, but 'Ouroboros' is intriguing enough to warrant your time. Clark and Renaud don't sound too interested in using the pipe organ's sacred power to trigger our fear and awe, they're more interested in the tonal fluctuations that early instrumentation provided.
Clark has worked with historical keyboard instruments extensively in the past, and plays a pipe organ based on a 14th-century instrument, and it's the way the sound merges with Renaud's modular feedback system that's truly remarkable. Focusing on the psychoacoustic phenomena that occurs when the tones react with each other, the music constantly shifts and mutates - it's not church music, it's a hypnotic, minimalist experiment that's surprisingly unique. Well worth a listen if you've rinsed the canon.
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Canadian early music obsessives Katelyn Clark and Mitch Renaud use a medieval-style pipe organ and modular synth to transgress time and space on 'Ouroboros'.
We're at a point where we'd probably urge you to avoid any new xenharmonic organ records, but 'Ouroboros' is intriguing enough to warrant your time. Clark and Renaud don't sound too interested in using the pipe organ's sacred power to trigger our fear and awe, they're more interested in the tonal fluctuations that early instrumentation provided.
Clark has worked with historical keyboard instruments extensively in the past, and plays a pipe organ based on a 14th-century instrument, and it's the way the sound merges with Renaud's modular feedback system that's truly remarkable. Focusing on the psychoacoustic phenomena that occurs when the tones react with each other, the music constantly shifts and mutates - it's not church music, it's a hypnotic, minimalist experiment that's surprisingly unique. Well worth a listen if you've rinsed the canon.