A Produce
The Clearing

The spiel woven by Barry Craig (aka A Produce) is legitimate when it focuses on the Californian scene so dear to me, where in 1982, during the presentation of the Trance Port Tapes, he is interested in the idea of trance present in different musical languages that use hypnotic/repetitive elements not only in their minimal form.

From there, the production of a series of cassettes by artists faithful to that approach of free spirals leads to the work we are focusing on today (released in 1988) which could initially be classified as ambient music, but with a deeper listen reveals multicolored streaks of various genres.

The base is a cosmic carpet that surprises with its modernity, based on an ephemeral everyday life of unknown goals. The recommendation to "play this record loud" should be followed as the increased volume envelops you without disturbing, indeed it gratifies you with an unsettling depth achieved. The richness of the atmospheres then triggers a certain something that gives you the sensation of listening to psychic movements, thoughts, airs that are close to you and speak to you, but you hadn't noticed until now.

The initiation of variants that rest on sensations results in the enjoyment of the product free from material expectations. Hopes of consumerist pleasure are not monetized and you find yourself in a wavering that doesn't give function to things and you, as a human being, feel uplifted meeting an entity that doesn't play on dualities and impersonally reveals impalpability, not involving you in a deceitful wink.

It seems that the tracklist marks out a particular day lived from within, where the noise of the body's friction with the outside is set aside in favor of proposing the reverberations of our soul's friction with the coarse, transforming it into rarefaction. Each track, however, in its meditative transformation, remains full, shrewd, dynamic, ancient.

The dematerialization is mystified in the only song sung by Daniel Voznik (Ashes of Love), an old companion from Afterimage, where glam wave echoes destabilize the trap of tranquility we had created by listening to the first side.

Thus a record that shuns the consolatory aspect, positioning itself outside of itself, as if these airs were observing themselves from above with an unpremeditated detachment but as a reflection of the immediate. The withdrawal from an ambient classification helps to discover the product as a coacervate of opportunities not to fall into the temptation of incorporating into sterile confines a multifaceted instrument that demonstrates "agere".

The cover art helps to interpret the ultimately fat sonic minimalism, which lubricates the transition between different consistencies where, among intimate priorities of various involvement, a bridge is built. PLAY LOUD! I urge you...