From Stills To Motion, by Adam Pacione (CD on Infraction)

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ADAM PACIONE - From Stills to Motion CD + bonus 'A Still Life' 3"CDR (Infraction) U.S. [INFX 023]
Highly anticipated new release from Adam Pacione.  Deluxe packaging.  Stoughton style mini-gatefold with 16 page full-color
booklet.  Design and layout by Pacione.  First 200 copies ordered will contain the bonus 3"CDR 'A Still Life'.
"An age of virtual audio saturation, of pre-articulated sound. Expressivity, once an array of possible voices,
is ever more probabilized. Originality, once primary criterion, is cast from the platform, problematized.
Wondering, late in modernity' day, what does it take to make a noise that matters? A keen-eared recontextualizer,
an alchemist who can make sound, found or unfound, to walk its own way, outside the ready-made parade. Adam
Pacione is one such - new recruit to a group of like-minded musicians, kindred-spirits Brian Grainger (Milieu),
Mike Bennett (Zimiamvian Night), and Kiln, who have brought the ferment from their sound stills to the Infraction
table. That label is now streaming a vital strain of New Backwoods Ambient, this latest from deep in the heart of
(Ft. Worth) Texas – experimental, but harmonically-inclined, apparenntly lo-tech, but substantially audio-cratic.<br>
Pacione's distinction lies in drawing the vectors of several lines of musical enquiry into a trajectory which
leads to a suggestive affective place. Witness how centrepiece track 'Sodium Lit', at outset a water-treading
body-double for Andrew Deutsch's Loops over Land, is slowly re-cast, a sonorous line drawn from Eno's process drift
towards Tim Hecker's glitch ice-sculptures via Stars of the Lid's downhome dronezone. It's an illustration of how
FSTM opens lacunae within itself, pulling the listener into its emergent sonic tableaux within which one's feelings
find their own projections. Echoes of the enviro-drone clan, low-lying labels like and/OAR, Twenty Hertz - old
familiars of Infraction, the silhouettes of whose kinfolk – Keith Beerry, Paul Bradley – are heard remotely. From
Stills to Motion is evocative titling too, signalling dynamic, as on 'Good Morning Mockingbird', a near-static
suspension of amorphous wisps finding flow from folding in further loopstrata and subtle drone infusions, snapshot
morphing to moving picture.  Sonority, then, shifts From Stills, gently tugged To Motion, into a woozy wonderland.
Pacione starts from base material, conventional instruments, mainly guitars, the odd analog synth and sample,
but no tone is left unturned. Like a tenderized but still chewy analog to recent Kranky fuzz-blur harmonizations,
his source-sounds quietly exult in altered states - compressed, granularized, weathered, distressed... in a word
(Pacione's) 'grexed' Grex comes from cross-breeding – environment traits spun with the string-steel of source,
further fleshing out, the familiar contour lent unfamiliar edge. A delicate and intricate weave results - a warp
to the weft, dissonance offset by harmony, consonance subverted by pitch-bend. Basinski may have modelled the
suggestivities of disintegration, mate Milieu pointed the emotive cache in sepia-stained sonorities, and Boards
brothers the heart-swoop from modulating detune. Maybe a memory captured from The Caretaker's Haunted Ballroom,
whose dazed derangement of time-stretched timbres leaves traces on 'Pinhole Sunrise'. No matter, for Pacione
asserts proprietorship over these movements of liquid lilt that hum with out-tune. They come into being as if
re-animated in slow melt from suspension, reaching 'Zenith', a 13-minute finale, which takes a twirl in tweaked
timbre-land, then slowly lifts off, leaving hills, plains, and depths of earth, ending in ascent." (A.Lockett)

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