'Zone 7' introduces NYC-based composer Christina Giannone to the Room40 stable with a swirling mist of Stars of the Lid-adjacent sci-fi ambience and ominous, molasses-thick smears of harmonic texture. Bleak and beautiful.
Released on the heels of last October's debut album 'Glazed Vision', Giannone experiments here with barely-perceivable harmonic shifts for an album that sounds as if it might be an alternative soundtrack to Andrei Tarkovsky's philosophical sci-fi masterpiece "Stalker". Each piece sounds moulded from rich harmonic content, hidden beneath constant, building gusts of wind and overdriven, billowing white noise.
But Giannone's music isn't noisy enough to place it alongside the power ambient canon - there's a similar idea, but Giannone sounds more interested in perception, expression, abstraction and self-reflection than engaging in a loudness war. At times it sounds like Tim Hecker (or even Room40 boss Lawrence English) dubbed to cassette tape a few hundred times. We can perceive that there's music there, but it's barely audible beneath layers of distorted fuzz.
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'Zone 7' introduces NYC-based composer Christina Giannone to the Room40 stable with a swirling mist of Stars of the Lid-adjacent sci-fi ambience and ominous, molasses-thick smears of harmonic texture. Bleak and beautiful.
Released on the heels of last October's debut album 'Glazed Vision', Giannone experiments here with barely-perceivable harmonic shifts for an album that sounds as if it might be an alternative soundtrack to Andrei Tarkovsky's philosophical sci-fi masterpiece "Stalker". Each piece sounds moulded from rich harmonic content, hidden beneath constant, building gusts of wind and overdriven, billowing white noise.
But Giannone's music isn't noisy enough to place it alongside the power ambient canon - there's a similar idea, but Giannone sounds more interested in perception, expression, abstraction and self-reflection than engaging in a loudness war. At times it sounds like Tim Hecker (or even Room40 boss Lawrence English) dubbed to cassette tape a few hundred times. We can perceive that there's music there, but it's barely audible beneath layers of distorted fuzz.
'Zone 7' introduces NYC-based composer Christina Giannone to the Room40 stable with a swirling mist of Stars of the Lid-adjacent sci-fi ambience and ominous, molasses-thick smears of harmonic texture. Bleak and beautiful.
Released on the heels of last October's debut album 'Glazed Vision', Giannone experiments here with barely-perceivable harmonic shifts for an album that sounds as if it might be an alternative soundtrack to Andrei Tarkovsky's philosophical sci-fi masterpiece "Stalker". Each piece sounds moulded from rich harmonic content, hidden beneath constant, building gusts of wind and overdriven, billowing white noise.
But Giannone's music isn't noisy enough to place it alongside the power ambient canon - there's a similar idea, but Giannone sounds more interested in perception, expression, abstraction and self-reflection than engaging in a loudness war. At times it sounds like Tim Hecker (or even Room40 boss Lawrence English) dubbed to cassette tape a few hundred times. We can perceive that there's music there, but it's barely audible beneath layers of distorted fuzz.
'Zone 7' introduces NYC-based composer Christina Giannone to the Room40 stable with a swirling mist of Stars of the Lid-adjacent sci-fi ambience and ominous, molasses-thick smears of harmonic texture. Bleak and beautiful.
Released on the heels of last October's debut album 'Glazed Vision', Giannone experiments here with barely-perceivable harmonic shifts for an album that sounds as if it might be an alternative soundtrack to Andrei Tarkovsky's philosophical sci-fi masterpiece "Stalker". Each piece sounds moulded from rich harmonic content, hidden beneath constant, building gusts of wind and overdriven, billowing white noise.
But Giannone's music isn't noisy enough to place it alongside the power ambient canon - there's a similar idea, but Giannone sounds more interested in perception, expression, abstraction and self-reflection than engaging in a loudness war. At times it sounds like Tim Hecker (or even Room40 boss Lawrence English) dubbed to cassette tape a few hundred times. We can perceive that there's music there, but it's barely audible beneath layers of distorted fuzz.
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'Zone 7' introduces NYC-based composer Christina Giannone to the Room40 stable with a swirling mist of Stars of the Lid-adjacent sci-fi ambience and ominous, molasses-thick smears of harmonic texture. Bleak and beautiful.
Released on the heels of last October's debut album 'Glazed Vision', Giannone experiments here with barely-perceivable harmonic shifts for an album that sounds as if it might be an alternative soundtrack to Andrei Tarkovsky's philosophical sci-fi masterpiece "Stalker". Each piece sounds moulded from rich harmonic content, hidden beneath constant, building gusts of wind and overdriven, billowing white noise.
But Giannone's music isn't noisy enough to place it alongside the power ambient canon - there's a similar idea, but Giannone sounds more interested in perception, expression, abstraction and self-reflection than engaging in a loudness war. At times it sounds like Tim Hecker (or even Room40 boss Lawrence English) dubbed to cassette tape a few hundred times. We can perceive that there's music there, but it's barely audible beneath layers of distorted fuzz.