Difference between revisions of "Yuri Urano - Wavering Leaves"

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It is in the continuity of the music that one should look for; its underlying idea. As indicated, steadiness appears to be key and finds expression in the uttermost basic level of the music on this recording. Ripples, a chaotic but still somewhat predictable thing in all natural environments with elements of waters in it. All it takes is a slight amount of energy in order to create a sense of motion into the molecules of the liquid and the physical effect can be discovered. Shake the ground -- to put it very very simple -- and something of equal sorts can happen. Ripples are not created out of itself. There is always something or someone that can be pointed towards as having initiated them, as having provided the necessary energy. Ripples are a result and not a cause.
Yes, it is nice to be reminded that nature is raw and it is nice to experience what it contributes to this track; no royalties given to it, I presume. Its contribution can be experienced in the second of two tracks. There the minimal drone texture is absent and through this the sound of nature is revealed. That is why this track is indeed raw. With only the sound of the environment -- the chirping of birds mostly --, an unmistakably reduced experience is presented to the listener. The urbanist is reminded on the loss, which might only become apparent by being reminded on these sounds or impressions. Interestingly, with only the texture around, the sounds of nature come over as more intense as well as with more clarity. Is this additional element equal to what a spice can bring to an otherwise well balanced, yet overall nevertheless limited dish?


Then how does this aspect and the music hinge together? Are those noises, those textures, those motifs an expression on how music should be seen? Is it merely a result of an impetus on an artist that has found expression through this means and into this form? As everything can be pointed towards as just that, this argument is valid but also rather meaningless. If all holds true, nothing holds true.  
The cover artwork is lucid. It is an overexposed photography. It is an arrangement of superimposed elements. A palimpsest so to speak. Contrary to the music, of which it is a visual accompaniment, less could be more in this regard. Less artificiality in the expression would reveal the underlying focal element of the picture. Here it is not to accentuate the "natural", a statue is always man-made and therefore not "pure" in the sense of belonging to the non-human realm, but rather to prepare the listener for the amalgam of slightly contrasting facets.


Somehow the strangest aspect of this release are those samples that had been added on top of the basic drone/ambient texture(s). With the ideas of ripples in the back of the head, one may wonder whether these are the result or the initial element; which of these sound would impact and be the source. Hints of industrial, hints of piano fragments, hints of melodies can be found. The track "Submerged" has these for instance. And even though they are able to merge with the overall sound and direction of the music, the additional intensity of those sounds comes is something uncalled for. With a rather calm and steady atmosphere and with generally little interference from whatever kind of source, not much would be able to break the flow of the music. As such, it is odd to experience these counterpoints throughout the album. Pechblende's music is a calm kind of ambient with drone elements. It can all be summed up as a steady textures in the background, which have slightly varied and repeated motifs on top of them. All is in a flow. Most of it is nice, most of it is gentle. Accordingly, Ripples has a comparably warm atmosphere and is something that can be enjoyed without music effort.
With two times six minutes and thirty-three seconds the music is all in all rather like a small bite. One for the body, one for the mind.
 
As the cover indicates, the music is rather dark and minimalist. It is reduced on a small set of elements and sounds. Music does not need much and this album is a good example for this. The performance on this release attempts to keep a balance between what can be done in this setting, but without exploring the realms of the avant-garde too much. Most of the tracks help to set the mood for relaxation and may help to calm down and to contemplate.  


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Revision as of 18:55, 28 July 2021

Yes, it is nice to be reminded that nature is raw and it is nice to experience what it contributes to this track; no royalties given to it, I presume. Its contribution can be experienced in the second of two tracks. There the minimal drone texture is absent and through this the sound of nature is revealed. That is why this track is indeed raw. With only the sound of the environment -- the chirping of birds mostly --, an unmistakably reduced experience is presented to the listener. The urbanist is reminded on the loss, which might only become apparent by being reminded on these sounds or impressions. Interestingly, with only the texture around, the sounds of nature come over as more intense as well as with more clarity. Is this additional element equal to what a spice can bring to an otherwise well balanced, yet overall nevertheless limited dish?

The cover artwork is lucid. It is an overexposed photography. It is an arrangement of superimposed elements. A palimpsest so to speak. Contrary to the music, of which it is a visual accompaniment, less could be more in this regard. Less artificiality in the expression would reveal the underlying focal element of the picture. Here it is not to accentuate the "natural", a statue is always man-made and therefore not "pure" in the sense of belonging to the non-human realm, but rather to prepare the listener for the amalgam of slightly contrasting facets.

With two times six minutes and thirty-three seconds the music is all in all rather like a small bite. One for the body, one for the mind.

2021DroneField RecordingAmbient

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