Reality Opposition
Room 40 host the beautifully bezonked, dream-textured and dissociative ambient drone noise of NYC’s Christina Giannone, on a return from her 2022 debut for Lawrence English’s label.
‘Reality Opposition’ is Giannone's 4th album since 2020 and a fine portal into her lush netherworld of grainy, abstract expressionism defined by nuanced harmonic movements, and fathomless, reverberating spatial dimensions. It all plays deep into a key theme of Room 40 releases, and one close to Lawrence English’s own brand of emotive ambient noise sculpture, operating on synaesthetic sixth senses that guide her from the Fennesz or English-like thorny sublime of ‘1’ on an increasingly stark and impressionistic journey thru the sepulchral white out ‘2’, and Philip Jeck-alike enigma of ‘3’, into Deathprod depths of dark ambient in ‘4’ and the bleak resolution of its closing piece.
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Room 40 host the beautifully bezonked, dream-textured and dissociative ambient drone noise of NYC’s Christina Giannone, on a return from her 2022 debut for Lawrence English’s label.
‘Reality Opposition’ is Giannone's 4th album since 2020 and a fine portal into her lush netherworld of grainy, abstract expressionism defined by nuanced harmonic movements, and fathomless, reverberating spatial dimensions. It all plays deep into a key theme of Room 40 releases, and one close to Lawrence English’s own brand of emotive ambient noise sculpture, operating on synaesthetic sixth senses that guide her from the Fennesz or English-like thorny sublime of ‘1’ on an increasingly stark and impressionistic journey thru the sepulchral white out ‘2’, and Philip Jeck-alike enigma of ‘3’, into Deathprod depths of dark ambient in ‘4’ and the bleak resolution of its closing piece.
Room 40 host the beautifully bezonked, dream-textured and dissociative ambient drone noise of NYC’s Christina Giannone, on a return from her 2022 debut for Lawrence English’s label.
‘Reality Opposition’ is Giannone's 4th album since 2020 and a fine portal into her lush netherworld of grainy, abstract expressionism defined by nuanced harmonic movements, and fathomless, reverberating spatial dimensions. It all plays deep into a key theme of Room 40 releases, and one close to Lawrence English’s own brand of emotive ambient noise sculpture, operating on synaesthetic sixth senses that guide her from the Fennesz or English-like thorny sublime of ‘1’ on an increasingly stark and impressionistic journey thru the sepulchral white out ‘2’, and Philip Jeck-alike enigma of ‘3’, into Deathprod depths of dark ambient in ‘4’ and the bleak resolution of its closing piece.
Room 40 host the beautifully bezonked, dream-textured and dissociative ambient drone noise of NYC’s Christina Giannone, on a return from her 2022 debut for Lawrence English’s label.
‘Reality Opposition’ is Giannone's 4th album since 2020 and a fine portal into her lush netherworld of grainy, abstract expressionism defined by nuanced harmonic movements, and fathomless, reverberating spatial dimensions. It all plays deep into a key theme of Room 40 releases, and one close to Lawrence English’s own brand of emotive ambient noise sculpture, operating on synaesthetic sixth senses that guide her from the Fennesz or English-like thorny sublime of ‘1’ on an increasingly stark and impressionistic journey thru the sepulchral white out ‘2’, and Philip Jeck-alike enigma of ‘3’, into Deathprod depths of dark ambient in ‘4’ and the bleak resolution of its closing piece.
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Mastered by Lawrence English at Negative Space
Room 40 host the beautifully bezonked, dream-textured and dissociative ambient drone noise of NYC’s Christina Giannone, on a return from her 2022 debut for Lawrence English’s label.
‘Reality Opposition’ is Giannone's 4th album since 2020 and a fine portal into her lush netherworld of grainy, abstract expressionism defined by nuanced harmonic movements, and fathomless, reverberating spatial dimensions. It all plays deep into a key theme of Room 40 releases, and one close to Lawrence English’s own brand of emotive ambient noise sculpture, operating on synaesthetic sixth senses that guide her from the Fennesz or English-like thorny sublime of ‘1’ on an increasingly stark and impressionistic journey thru the sepulchral white out ‘2’, and Philip Jeck-alike enigma of ‘3’, into Deathprod depths of dark ambient in ‘4’ and the bleak resolution of its closing piece.