The supremely prolific Eyvind Kang wraps up 2011 and commences 2012 amidst a burst of creativity, with work on 'Visible Breath' beginning in November 2008, and only reaching completion in the Autumn of 2011 before Sunn O))) doomlord and purveyor of exemplary experimental music via Ideologic Organ, the Editions Mego subsidiary label he curates.
The first of the two releases, 'Visible Breath', is sparse and often dark and unsettling, with monotonous drones and throbs and simple motifs repeated for an eternity providing the basis of the three lengthy compositions. Discord and dissonance are key features in the sound on an album which is neither ambient nor neoclassical, but is impressive and accomplished.
'The Narrow Garden' is something of a contrast being richer, more varied and composed of shorter pieces. Across this release, Kang blends eastern and Oriental elements with swirling ambience that filters like smoke through a forest. 'Mineralia' introduces the majestic vocals of Jessika Kenney with whom Kang collaborated on 'Aestuarium', released in the summer of 2011) to most enticing effect and conjuring a mystical and almost medieval atmosphere.
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'Invisus Natalls' provides a spectacularly climactic conclusion to the album beginning with what could reasonably be described as a 'classic' middle eastern sound, evocative of deserts and belly dancing, before darkness begins to creep in, with strings bringing discord and tension that builds to a monumental crescendo.
The two albums make for very different listening experiences, but it's definitely worth hearing them both as companions to one another to fully appreciate Kang's musical range.
Eyvind Kang on MySpace
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