Sung in Broken Symmetry
'Sung In Broken Symmetry' features the FX pedal-sculpted drone and ambient music of Ryan Potts, aka Aquarelle. There's a clear kinship between his blooming guitar treatments and compositions by Tim Hecker or Fennesz, but the distinction between them lies in his fetishising of the pedal over DSP or "in-the-box" processing, which unmistakably imbues his sound with a more distortion-bruised and organic feel comparatively closer to later Yellow Swans releases. These are finely layered compositions, suggesting imagery of ecological dynamics to the ebb and flow of opener 'With Verticals', where bubbles of crackly guitar notes rise through a sea of distortion to an effervescent surface peal of glistening overtones and "quasi-Reichian percussion", or the way he finally emerges from a dense fog of harmonic distortion in 'A Strange Sweet Woe' to a clear and plangent resolution of keys and acoustic guitar. But he's at his most effective when restraining the chest-bursting impulses on 'Origin', casting out into a simmering, moonlit sea of fragile and detailed distortion with quiet swells which capture the imagination far more subtly and effectively.
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'Sung In Broken Symmetry' features the FX pedal-sculpted drone and ambient music of Ryan Potts, aka Aquarelle. There's a clear kinship between his blooming guitar treatments and compositions by Tim Hecker or Fennesz, but the distinction between them lies in his fetishising of the pedal over DSP or "in-the-box" processing, which unmistakably imbues his sound with a more distortion-bruised and organic feel comparatively closer to later Yellow Swans releases. These are finely layered compositions, suggesting imagery of ecological dynamics to the ebb and flow of opener 'With Verticals', where bubbles of crackly guitar notes rise through a sea of distortion to an effervescent surface peal of glistening overtones and "quasi-Reichian percussion", or the way he finally emerges from a dense fog of harmonic distortion in 'A Strange Sweet Woe' to a clear and plangent resolution of keys and acoustic guitar. But he's at his most effective when restraining the chest-bursting impulses on 'Origin', casting out into a simmering, moonlit sea of fragile and detailed distortion with quiet swells which capture the imagination far more subtly and effectively.
'Sung In Broken Symmetry' features the FX pedal-sculpted drone and ambient music of Ryan Potts, aka Aquarelle. There's a clear kinship between his blooming guitar treatments and compositions by Tim Hecker or Fennesz, but the distinction between them lies in his fetishising of the pedal over DSP or "in-the-box" processing, which unmistakably imbues his sound with a more distortion-bruised and organic feel comparatively closer to later Yellow Swans releases. These are finely layered compositions, suggesting imagery of ecological dynamics to the ebb and flow of opener 'With Verticals', where bubbles of crackly guitar notes rise through a sea of distortion to an effervescent surface peal of glistening overtones and "quasi-Reichian percussion", or the way he finally emerges from a dense fog of harmonic distortion in 'A Strange Sweet Woe' to a clear and plangent resolution of keys and acoustic guitar. But he's at his most effective when restraining the chest-bursting impulses on 'Origin', casting out into a simmering, moonlit sea of fragile and detailed distortion with quiet swells which capture the imagination far more subtly and effectively.
'Sung In Broken Symmetry' features the FX pedal-sculpted drone and ambient music of Ryan Potts, aka Aquarelle. There's a clear kinship between his blooming guitar treatments and compositions by Tim Hecker or Fennesz, but the distinction between them lies in his fetishising of the pedal over DSP or "in-the-box" processing, which unmistakably imbues his sound with a more distortion-bruised and organic feel comparatively closer to later Yellow Swans releases. These are finely layered compositions, suggesting imagery of ecological dynamics to the ebb and flow of opener 'With Verticals', where bubbles of crackly guitar notes rise through a sea of distortion to an effervescent surface peal of glistening overtones and "quasi-Reichian percussion", or the way he finally emerges from a dense fog of harmonic distortion in 'A Strange Sweet Woe' to a clear and plangent resolution of keys and acoustic guitar. But he's at his most effective when restraining the chest-bursting impulses on 'Origin', casting out into a simmering, moonlit sea of fragile and detailed distortion with quiet swells which capture the imagination far more subtly and effectively.