Typhonian Highlife
The World of Shells

THE REVIEW

(debasera page for an album I got to know in the debaseron, thanks szsotomayor)

~

He, not the cat, is named Spencer Clarke.

Written, performed & produced alone, 2016, a retractable, bizarre experimental electronic, similar to a three-dimensional canvas for a not-so-simple and difficult-to-frame drawing; yet it shows the mask from both sides, both virgin forest and human artifact; in every sound expression it is crystal clear how nature is the protagonist in the story, symbolically painted through high technology that, without flattening the result, abstracts the sounds from rhythm creating a purely evocative sensation; evolution, diversity, geometry, gravitational force, if world music then it describes things at quantum distances, simple glimpses at the structure of matter, while if electronic, I would pair it only with electrostatic interactions. In general, the music is infused with the Orient, brimming with eccentric sonic ornaments of mechanized spirit; the instrumental narrative intrigues, dares in the verses, creates visual associations between temperate forests and bastions of Orion and, similar to watercolor drafts, the tracks fade in brief durations before congealing into some vague form.

Symphodoson Nasty Boys seems like a vocal work for twisted and liquid creatures;

Nano-Zootypes In A Tenctonese Exhibition Tank, is cyberpunk mysticism, sci-fi mantra;

Wah Wah Day Gecko Gecco makes one think of naiads attracted to a shishi odoshi;

Oracle of Regret is the last long track, a figure projecting different shadows.

Overlooking various technical issues on which I wouldn't know well now to ramble, I don't think I have recently listened to a similar album, nor do I think a similar album has recently sparked my interest, well, surely this little outing I believe has broadened my ears even if just momentarily.

LP