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I’ve been staring at the album art for this one for about twenty minutes. I might be asleep. But I’m typing. So it’s fine. Rhucle comes with Constellation Tatsu’s latest quartet of tapes, and skews more towards the label’s quota of new age, immersing the listener in a watery hammock of abstracted synth melody that sounds half and half previous contributors Dang Olsen Dream Tape and Sarah Davachi. Strong tone fixtures meet pastoral environments -- you could achieve the feeling of two weeks holiday in one evening listen.
It doesn’t matter where opener “Parade” is going -- its sloshes of water are endless, accompanied by an aimless collection of random pressing-downs of the synth that make one feel utterly at peace and completely happy to stay there for a while. The maintained whistling electronics of “Cicada” shimmer and sharpen but still feel wonderfully relaxing, and… at some point I have to stop just describing all the songs because they’re making me feel full of light and writing about them for work isn’t.
Occasionally a bird chirps alongside one of the sustained chords; sometimes a melody threatens some sort of musical conversation, when all you want is snores. It never goes anywhere: you just relax. There’s a couple of lovely side-notes, such as the piano ballad “White Petals”, a new age solo piece played as delicately as a Bill Evans lunchtime jam. If you could do me one favour today, let it be this: get nothing done.
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