Sensitive Dependence on Initial Conditions
Haptic
Sensitive Dependence on Initial Conditions
Boomkat Product Review:
Landing on Richard Chartier's LINE after a series of releases for Flingco, Entr'acte and Notice, Chicago trio Haptic work like sculptors on their latest offering, turning synth sounds, field recordings, piano and other instrumentation into droning lower case saturations.
'Sensitive Dependence on Initial Conditions' started life as a spread of ideas, where Haptic's Steven Hess, Joseph Clayton Mill and Adam Sonderberg prompted each other to dig into their musical history and present the records that formed their earliest memories. But while these examples helped guide the initial session at Chicago's Experimental Sound Studio back in 2022, the music evolved rapidly as the group began to work into the stems, putting together rough mixes and adding new elements where needed, before removing them again. Hess, Clayton and Sonderberg kept on mixing, remixing and revising until the original compositions were "richly and subtly texture, but shorn of ornament" and the results speak for themselves.
There's no aesthetic prettiness on show here; traces of instruments are almost perceptible at times, but everything's been rubbed down until its source material almost vanishes. Opener 'Proscenium' was based on a warped tape of improvised piano, but you only really notice the fluttered chimes if you're really tuning in. What's more evident is Guillaume de Machaut's resonant horn part, that the trio rearranged to match the piano. 'Returning' is even murkier, an orchestral moan that's drowned beneath waves of tape hiss, and the side-long 'Abasement' dilates the timeline once more, punctuating the durational soundscape with subtle bass drum hits.
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Boomkat Product Review:
Landing on Richard Chartier's LINE after a series of releases for Flingco, Entr'acte and Notice, Chicago trio Haptic work like sculptors on their latest offering, turning synth sounds, field recordings, piano and other instrumentation into droning lower case saturations.
'Sensitive Dependence on Initial Conditions' started life as a spread of ideas, where Haptic's Steven Hess, Joseph Clayton Mill and Adam Sonderberg prompted each other to dig into their musical history and present the records that formed their earliest memories. But while these examples helped guide the initial session at Chicago's Experimental Sound Studio back in 2022, the music evolved rapidly as the group began to work into the stems, putting together rough mixes and adding new elements where needed, before removing them again. Hess, Clayton and Sonderberg kept on mixing, remixing and revising until the original compositions were "richly and subtly texture, but shorn of ornament" and the results speak for themselves.
There's no aesthetic prettiness on show here; traces of instruments are almost perceptible at times, but everything's been rubbed down until its source material almost vanishes. Opener 'Proscenium' was based on a warped tape of improvised piano, but you only really notice the fluttered chimes if you're really tuning in. What's more evident is Guillaume de Machaut's resonant horn part, that the trio rearranged to match the piano. 'Returning' is even murkier, an orchestral moan that's drowned beneath waves of tape hiss, and the side-long 'Abasement' dilates the timeline once more, punctuating the durational soundscape with subtle bass drum hits.
Boomkat Product Review:
Landing on Richard Chartier's LINE after a series of releases for Flingco, Entr'acte and Notice, Chicago trio Haptic work like sculptors on their latest offering, turning synth sounds, field recordings, piano and other instrumentation into droning lower case saturations.
'Sensitive Dependence on Initial Conditions' started life as a spread of ideas, where Haptic's Steven Hess, Joseph Clayton Mill and Adam Sonderberg prompted each other to dig into their musical history and present the records that formed their earliest memories. But while these examples helped guide the initial session at Chicago's Experimental Sound Studio back in 2022, the music evolved rapidly as the group began to work into the stems, putting together rough mixes and adding new elements where needed, before removing them again. Hess, Clayton and Sonderberg kept on mixing, remixing and revising until the original compositions were "richly and subtly texture, but shorn of ornament" and the results speak for themselves.
There's no aesthetic prettiness on show here; traces of instruments are almost perceptible at times, but everything's been rubbed down until its source material almost vanishes. Opener 'Proscenium' was based on a warped tape of improvised piano, but you only really notice the fluttered chimes if you're really tuning in. What's more evident is Guillaume de Machaut's resonant horn part, that the trio rearranged to match the piano. 'Returning' is even murkier, an orchestral moan that's drowned beneath waves of tape hiss, and the side-long 'Abasement' dilates the timeline once more, punctuating the durational soundscape with subtle bass drum hits.
Boomkat Product Review:
Landing on Richard Chartier's LINE after a series of releases for Flingco, Entr'acte and Notice, Chicago trio Haptic work like sculptors on their latest offering, turning synth sounds, field recordings, piano and other instrumentation into droning lower case saturations.
'Sensitive Dependence on Initial Conditions' started life as a spread of ideas, where Haptic's Steven Hess, Joseph Clayton Mill and Adam Sonderberg prompted each other to dig into their musical history and present the records that formed their earliest memories. But while these examples helped guide the initial session at Chicago's Experimental Sound Studio back in 2022, the music evolved rapidly as the group began to work into the stems, putting together rough mixes and adding new elements where needed, before removing them again. Hess, Clayton and Sonderberg kept on mixing, remixing and revising until the original compositions were "richly and subtly texture, but shorn of ornament" and the results speak for themselves.
There's no aesthetic prettiness on show here; traces of instruments are almost perceptible at times, but everything's been rubbed down until its source material almost vanishes. Opener 'Proscenium' was based on a warped tape of improvised piano, but you only really notice the fluttered chimes if you're really tuning in. What's more evident is Guillaume de Machaut's resonant horn part, that the trio rearranged to match the piano. 'Returning' is even murkier, an orchestral moan that's drowned beneath waves of tape hiss, and the side-long 'Abasement' dilates the timeline once more, punctuating the durational soundscape with subtle bass drum hits.
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