Review of Filaments & Voids [12k1050]

Adverse Effect (BLOG)

I have to ‘fess I’ve long loved the type of harmonic drone or tonal music evident on this latest release by prolific New York composer Kirschner. Throughout both these discs, fantastic and lengthy shimmering sound-drifts sweep and gently roll into each other, at once leaving room for each to breathe without losing sight of a clear objective to colour space and silence with a little meaning. All three pieces that make up the first disc assume a melancholic position where loss and absence are rendered positive via abstract forms, evoking a place where one can blissfully and peacefully contemplate the subjective and objective completely undisturbed, not unlike staring at a lake’s ripples on a remote planet. Kirschner’s main instrument, the piano, provides a clearer source for the fourth (and last) track, “March 16 2006”, but all 72.37 minutes prove themselves an exercise in a bleakness as healthy as one of Bela Tarr’s lengthy camera shots. Grainy and sparse piano chords rarely sound so downright absorbing and, if anything, the feel of this piece compares with some of William Basinski’s work; in tone and texture if not the actual execution. Over the years, Kirschner has released a number of albums and collaborated with 12k’s own Taylor Deupree. I urge you to investigate. – Richard Johnson

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