The opening track of the upcoming Crocodile clutches at line of comforting familiarity and the surreal unknown. Using field recordings and manipulated audio, the track creates an uncanny blend of recognition and dissonance.
The sounds of flowing water and calling birds opens the work. With an only slightly jarring loop, this is quickly established as a rhythmic device and a motif for the track. Throughout the work’s duration, increasingly confrontational and dissonant melodic passes blister over this loop.
Fuzzy synths and cavernous reverbs combine to create a chaotic counter-motif and evoke contrasting imagery to the track’s earliest offerings. The intermittent dropping of this sound allows the initial loop to reveal itself again and serve as an anchor for the listener. Recalling classic minimalist compositional structure the likes you’d hear in a Steve Reich output, Shiny, Shiny Morning refers back to this clean and safe loop as a call and response technique, but also a cadential preface to developing ‘rounds’ of phrasing.
Characteristically the work sits outside of mainstream genres. However, influences and voicing from varying outputs can be determined from the rhythmic phrasing and melodic work. Through the right lens Shiny, Shiny Morning can be heard as an 80s post-punk/post-rock sound.
it’s compositional simplicity leaves reception of the work open to interpretation by its’ listeners. By any reading, it is an excellent example of sonic sculpting and leads perfectly into the rest of the E.P.
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