First time with Pinkcourtesyphone. Not about death!
Structurally, recalls Keith Fullerton Whitman’s Playthroughs (a favourite): both reach to ambient touchstones yet occupy their own centres.
‘New Domestic Landscape’ sinks clunk of iron hulls through temple silence (Tomb Raider!) – refined Bryars, but also strange and new.
‘Reference Point Intermission 1’ – something important pushing through, on the phone? (“Is there someone there?”) Stars of the Lid synths and strings swells and falls. Anxious guitar(?) loop in the background: still breathing but running out of time.
Suspended chimes in ‘High End Smalls’, birds-eye view; below, OPN synths like voices break with exhaled waves on the sand: Biosphere perspective but coming slowly down. Halfway something’s changed: the chimes fall back; Douglas Trumbull filters bleed in deep Lynchian ultramarine and we’re reawakened.
(‘Ambient’ is popularly equated with ‘background’ which implies listening space, while Tim Hecker’s crumbling instrumental pieces evoke recording space, but compare TIAOAPOYE‘s visuals rather with Eno’s unbounded Augé-esque abstractions on Music For Airports or grounded field-locations in On Land – ambient is three-dimensional, not time or tempo but musical space.)
‘Reference Point Intermission 2’ – (to what do these Points Refer? They seem more static) Looping sonar drops atop swelling bass drones and insect choruses – a later Godspeed interlude maybe. Abstracting meltdown borrowed from HES above; in all, TIAOAPOYE‘s least distinctive, probably least engaging ‘moment’ (at 13.41…)
Rejoining NDL’s sunken Titanic in ‘Horizontal Format (For D. Marti)’: eroded, Leyland-Kirby thumps and scrapes; a sonorous, broken drone underneath. Stretching and splitting; kelp fields waving in a sea breeze. Then pared back to the minimal.
Title of ‘Schlaflied [Lullaby] (für PvK)’ makes me think of KFW’s Schöner Flußengel, but it opens with call-and-response synth tones more from Eno’s last album. Peace (no spatial imagery here; more weightlessness, zero dimensions). But disruption through stalactite drips and weak exhalations, then characteristic submersion but with (of all things) velcro and paper rips – a return to the otherworldly coexistence of sounds on the opener.
Like a dream: unmemorable (unrememberable) but you know you want to go back. Returning again and again.