Blindlight is the second release from London based electro-acoustic
improvisers Sonnamble, again consisting of Conor Curran on electronics
and software and Peter Marsh on stringed instruments. The recording
sessions took place not long after the release of the duo's well received
debut Seven Months in E Minor and according to Curran it's 'a nice little
closer to that chapter'. Again, the focus is on Marsh's lap steel guitar,
whose drones, chords and twangs are coaxed into expansive ambient
fuzziness or atomised into grains of noise by Curran's home-cooked
software patches. But there's a spareness and a more pronounced
spikiness to the music this time round; it's still immersive stu , but more
edgy. There's even some spoken word on the closing Society;
a recording of Curran's uncle describing the state of Irish mental health
in the last century. It's funnier than it sounds, but the combination with
the dolorous swirls of processed lap steel give it a curious emotional
The title is a corruption of the name of an installation piece by sculptor
Antony Gormley, in which vistors were invited to wander around in a
large, brightly lit glass tank full of thick grey fog. "I went two or three
times", says Marsh. "It was a very weird, but kind of comforting experi-
ence. You could hardly see your hand in front of your face. The music,
when it's really working, gives me the same kind of feeling, so it seemed
like a good title for what we'd done..."
Opening track ‘Aphelion I’ was selected for the latest Wire Tapper
compilation available with the August edition of the magazine.
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