Wakes on Cerulean
In a sublime intersection of electronic spirits, the GRM’s Kassel Jaeger and consummate collaborator, improvisor Jim O’Rourke, summon their most cosmic feels in Wakes Of Cerulean. If you’re familiar with or appreciate either artist’s work, you’ll really want to pay heed to this one.
Their first joint venture is a masterclass in the control and manipulation of electronic music to the lushest, intangible and psychedelic ends. Without disclosing the process behind the music, they lead us by the nose thru 35 minutes of enchanted harmonic colour and amorphous structures that flow into one another with mercurial subtlety, modelling something closer to gently mingling spring weather fronts or the beauty of nature than anything detectably manmade.
Of course, they’ve both got their fingers in there somewhere, but it’s hard, and pretty pointless, to try and work out what they’re doing. Much better to let the piece wrap around you and follow its trajectory form concrète rustle thru creamed jazz chord strokes to a sylvan chorus of aleatoric animations and kosmiche noise in Part A, and then again with Part B, where they dissolve onto deepest. opiated dimensions and gradually contract to a lattice of crystallising harmonic partials with an achingly sweet grasp of sound sensitivity.
Don’t miss this if you’re into Fennesz, Emeralds, Pita
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In a sublime intersection of electronic spirits, the GRM’s Kassel Jaeger and consummate collaborator, improvisor Jim O’Rourke, summon their most cosmic feels in Wakes Of Cerulean. If you’re familiar with or appreciate either artist’s work, you’ll really want to pay heed to this one.
Their first joint venture is a masterclass in the control and manipulation of electronic music to the lushest, intangible and psychedelic ends. Without disclosing the process behind the music, they lead us by the nose thru 35 minutes of enchanted harmonic colour and amorphous structures that flow into one another with mercurial subtlety, modelling something closer to gently mingling spring weather fronts or the beauty of nature than anything detectably manmade.
Of course, they’ve both got their fingers in there somewhere, but it’s hard, and pretty pointless, to try and work out what they’re doing. Much better to let the piece wrap around you and follow its trajectory form concrète rustle thru creamed jazz chord strokes to a sylvan chorus of aleatoric animations and kosmiche noise in Part A, and then again with Part B, where they dissolve onto deepest. opiated dimensions and gradually contract to a lattice of crystallising harmonic partials with an achingly sweet grasp of sound sensitivity.
Don’t miss this if you’re into Fennesz, Emeralds, Pita
In a sublime intersection of electronic spirits, the GRM’s Kassel Jaeger and consummate collaborator, improvisor Jim O’Rourke, summon their most cosmic feels in Wakes Of Cerulean. If you’re familiar with or appreciate either artist’s work, you’ll really want to pay heed to this one.
Their first joint venture is a masterclass in the control and manipulation of electronic music to the lushest, intangible and psychedelic ends. Without disclosing the process behind the music, they lead us by the nose thru 35 minutes of enchanted harmonic colour and amorphous structures that flow into one another with mercurial subtlety, modelling something closer to gently mingling spring weather fronts or the beauty of nature than anything detectably manmade.
Of course, they’ve both got their fingers in there somewhere, but it’s hard, and pretty pointless, to try and work out what they’re doing. Much better to let the piece wrap around you and follow its trajectory form concrète rustle thru creamed jazz chord strokes to a sylvan chorus of aleatoric animations and kosmiche noise in Part A, and then again with Part B, where they dissolve onto deepest. opiated dimensions and gradually contract to a lattice of crystallising harmonic partials with an achingly sweet grasp of sound sensitivity.
Don’t miss this if you’re into Fennesz, Emeralds, Pita
In a sublime intersection of electronic spirits, the GRM’s Kassel Jaeger and consummate collaborator, improvisor Jim O’Rourke, summon their most cosmic feels in Wakes Of Cerulean. If you’re familiar with or appreciate either artist’s work, you’ll really want to pay heed to this one.
Their first joint venture is a masterclass in the control and manipulation of electronic music to the lushest, intangible and psychedelic ends. Without disclosing the process behind the music, they lead us by the nose thru 35 minutes of enchanted harmonic colour and amorphous structures that flow into one another with mercurial subtlety, modelling something closer to gently mingling spring weather fronts or the beauty of nature than anything detectably manmade.
Of course, they’ve both got their fingers in there somewhere, but it’s hard, and pretty pointless, to try and work out what they’re doing. Much better to let the piece wrap around you and follow its trajectory form concrète rustle thru creamed jazz chord strokes to a sylvan chorus of aleatoric animations and kosmiche noise in Part A, and then again with Part B, where they dissolve onto deepest. opiated dimensions and gradually contract to a lattice of crystallising harmonic partials with an achingly sweet grasp of sound sensitivity.
Don’t miss this if you’re into Fennesz, Emeralds, Pita
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In a sublime intersection of electronic spirits, the GRM’s Kassel Jaeger and consummate collaborator, improvisor Jim O’Rourke, summon their most cosmic feels in Wakes Of Cerulean. If you’re familiar with or appreciate either artist’s work, you’ll really want to pay heed to this one.
Their first joint venture is a masterclass in the control and manipulation of electronic music to the lushest, intangible and psychedelic ends. Without disclosing the process behind the music, they lead us by the nose thru 35 minutes of enchanted harmonic colour and amorphous structures that flow into one another with mercurial subtlety, modelling something closer to gently mingling spring weather fronts or the beauty of nature than anything detectably manmade.
Of course, they’ve both got their fingers in there somewhere, but it’s hard, and pretty pointless, to try and work out what they’re doing. Much better to let the piece wrap around you and follow its trajectory form concrète rustle thru creamed jazz chord strokes to a sylvan chorus of aleatoric animations and kosmiche noise in Part A, and then again with Part B, where they dissolve onto deepest. opiated dimensions and gradually contract to a lattice of crystallising harmonic partials with an achingly sweet grasp of sound sensitivity.
Don’t miss this if you’re into Fennesz, Emeralds, Pita