Waking, She Heard the Fluttering
Alexandra Spence
Waking, She Heard the Fluttering
Boomkat Product Review:
The finely textured concrète grain richly detailed location recordings and ASMR-like vocals of ‘Waking, She Heard the Fluttering’ appears to be the first solo release by Alexandra Spence, or at least her first for Lawrence English’s Room 40
Taking cues from a three month trip to Europe, where she immersed in the UK - cold London, cheap pints, meeting David Toop and recording fences in Scotland with Chris Watson - and also swam in the nudist lake at Grunewald, Berlin, Alexandra turns those experiences into smoothen like a recollection of a dream, or the sounds of waking into a dream.
In its 45 minute lifespan, the piece demonstrates the artist’s keen ear for sonic ecologies, both macroscopic and microscopic, taking the listener on a heavy-lidded trip in and out of electro and acoustic dimensions from the serene gentility of ‘Bodies In Place’ thru the harmonic blush andASMR whispers of ‘Bodyscan’, to the mesmerising rustle of what sounds like a pocket dial in ‘A Soft Crackle’, with more SMR poetry in ‘Flora (For A Friend)’, and beautifully transportive tracts such as the 15 minute title track and gossamer tactility of ‘Sky and Sea Were Indistinguishable’.
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Boomkat Product Review:
The finely textured concrète grain richly detailed location recordings and ASMR-like vocals of ‘Waking, She Heard the Fluttering’ appears to be the first solo release by Alexandra Spence, or at least her first for Lawrence English’s Room 40
Taking cues from a three month trip to Europe, where she immersed in the UK - cold London, cheap pints, meeting David Toop and recording fences in Scotland with Chris Watson - and also swam in the nudist lake at Grunewald, Berlin, Alexandra turns those experiences into smoothen like a recollection of a dream, or the sounds of waking into a dream.
In its 45 minute lifespan, the piece demonstrates the artist’s keen ear for sonic ecologies, both macroscopic and microscopic, taking the listener on a heavy-lidded trip in and out of electro and acoustic dimensions from the serene gentility of ‘Bodies In Place’ thru the harmonic blush andASMR whispers of ‘Bodyscan’, to the mesmerising rustle of what sounds like a pocket dial in ‘A Soft Crackle’, with more SMR poetry in ‘Flora (For A Friend)’, and beautifully transportive tracts such as the 15 minute title track and gossamer tactility of ‘Sky and Sea Were Indistinguishable’.
Boomkat Product Review:
The finely textured concrète grain richly detailed location recordings and ASMR-like vocals of ‘Waking, She Heard the Fluttering’ appears to be the first solo release by Alexandra Spence, or at least her first for Lawrence English’s Room 40
Taking cues from a three month trip to Europe, where she immersed in the UK - cold London, cheap pints, meeting David Toop and recording fences in Scotland with Chris Watson - and also swam in the nudist lake at Grunewald, Berlin, Alexandra turns those experiences into smoothen like a recollection of a dream, or the sounds of waking into a dream.
In its 45 minute lifespan, the piece demonstrates the artist’s keen ear for sonic ecologies, both macroscopic and microscopic, taking the listener on a heavy-lidded trip in and out of electro and acoustic dimensions from the serene gentility of ‘Bodies In Place’ thru the harmonic blush andASMR whispers of ‘Bodyscan’, to the mesmerising rustle of what sounds like a pocket dial in ‘A Soft Crackle’, with more SMR poetry in ‘Flora (For A Friend)’, and beautifully transportive tracts such as the 15 minute title track and gossamer tactility of ‘Sky and Sea Were Indistinguishable’.
Boomkat Product Review:
The finely textured concrète grain richly detailed location recordings and ASMR-like vocals of ‘Waking, She Heard the Fluttering’ appears to be the first solo release by Alexandra Spence, or at least her first for Lawrence English’s Room 40
Taking cues from a three month trip to Europe, where she immersed in the UK - cold London, cheap pints, meeting David Toop and recording fences in Scotland with Chris Watson - and also swam in the nudist lake at Grunewald, Berlin, Alexandra turns those experiences into smoothen like a recollection of a dream, or the sounds of waking into a dream.
In its 45 minute lifespan, the piece demonstrates the artist’s keen ear for sonic ecologies, both macroscopic and microscopic, taking the listener on a heavy-lidded trip in and out of electro and acoustic dimensions from the serene gentility of ‘Bodies In Place’ thru the harmonic blush andASMR whispers of ‘Bodyscan’, to the mesmerising rustle of what sounds like a pocket dial in ‘A Soft Crackle’, with more SMR poetry in ‘Flora (For A Friend)’, and beautifully transportive tracts such as the 15 minute title track and gossamer tactility of ‘Sky and Sea Were Indistinguishable’.
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Boomkat Product Review:
The finely textured concrète grain richly detailed location recordings and ASMR-like vocals of ‘Waking, She Heard the Fluttering’ appears to be the first solo release by Alexandra Spence, or at least her first for Lawrence English’s Room 40
Taking cues from a three month trip to Europe, where she immersed in the UK - cold London, cheap pints, meeting David Toop and recording fences in Scotland with Chris Watson - and also swam in the nudist lake at Grunewald, Berlin, Alexandra turns those experiences into smoothen like a recollection of a dream, or the sounds of waking into a dream.
In its 45 minute lifespan, the piece demonstrates the artist’s keen ear for sonic ecologies, both macroscopic and microscopic, taking the listener on a heavy-lidded trip in and out of electro and acoustic dimensions from the serene gentility of ‘Bodies In Place’ thru the harmonic blush andASMR whispers of ‘Bodyscan’, to the mesmerising rustle of what sounds like a pocket dial in ‘A Soft Crackle’, with more SMR poetry in ‘Flora (For A Friend)’, and beautifully transportive tracts such as the 15 minute title track and gossamer tactility of ‘Sky and Sea Were Indistinguishable’.
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