SOULS ADRIFT, IN DISREPAIR
eyes cast down
Kalindi Music KM004
July 12, 2016
Read the story of the album.
|3.||Sirens of Maya||12.55|
|5.||At This Body’s Final Hour||18.04|
My multimedia jam with art painters Royce Deans and Tali Farchi in April 2012 birthed this project, so it’s most fitting that the album artwork consists of Royce and Tali’s original paintings. Four of the album’s five pieces began as music improvised in that performance.
This album closes a circle begun with The Separate Ones, returning to a reflective and deeply grounding space. The music is a spiritual journey, facing down sorrow and loss, in order to see through them and beyond – to their redemption. The soul need not drift.
By turns dreamy and melancholy, serene and foreboding, the wistful guitar of Fading Angel gives way to the disorienting and immersive Astral Drift, the seductive Sirens of Maya, and the 12-string Power Zen of Transcending Memory.
The closer, At This Body’s Final Hour, slows to half-speed over its 18 minutes, with a plaintive piano melody over a haunting blend of synth, guitar and chant.
A soundtrack from out of the middle distance, Souls Adrift, in Disrepair (73’52”) uses stillness to superb effect. Eyes Cast Down (multi-instrumentalist Greg Moorcroft) asks that you give his delicately layered performance your patience. Once we adjust our ears to the minimalist arrangements, what emerges is a slow steady tempest of sound.
The five stark compositions found on Souls Adrift, in Disrepair evoke different questions from the ones we are used to. We are asked to look within, and think about what feelings and sensations we experience while listening to this album’s sustaining drones, breathing chords, and dense forms – things large enough to swallow you whole. Whatever drama does arise on Souls Adrift, in Disrepair, does not come from harmonic displacement, melodic invention, nor counterpoint, but from contrasts in the sounds themselves. Stripped of almost everything, but for the subtlest shifts in atmosphere and light, this work opens up a space for one.
Moorcroft relies on a myriad of electronic processing devices to transform his guitar playing into the textural masses found on this album… and a learned musicianship to direct this technology. Beautifully restrained moments, borne in improvisation, extend in slowly decaying ripples beneath gradually undulating contours. Aural details come in and out of focus, in shades of twilight and sepulchral frost. As each tone breathes into our listening space, we feel a slow force of momentum.
Near album’s end, a reverberant piano enters, repeating its question again and again. When shadows pull together, ethereal voices add to an enfolding darkness. The reason this album seems so quiet is because there are so few other people saying these things. The unadorned beauty of Souls Adrift, in Disrepair relates to human fragility. The dark alliance of unmodulated sounds imparts a haunting force. As ideas and emotions cross borders, the outside world remains an abstraction – possibly a parallel present to the loftier firmaments of the mind.
It may not matter to you that Souls Adrift, in Disrepair began its life as a set of live improvised pieces to accompany an art installation. It’s nice to know, sure, but not necessary to take the voyage this album offers. All that really matters is how easily you got lost in the sound. Ambient guitarist Eyes Cast Down (Greg Moorcroft) provides five nuanced soundscapes in this “…spiritual journey, facing down sorrow and loss, in order to see through them and beyond…” There are long stretches of grim shadow, passages of optimistic light, and a mostly seamless sonic topography that gives your mind’s eye plenty to gaze into as you go deeper.
“Fading Angel” opens the album in a light space, presenting floating ambient washes. It’s the lightest Souls… gets–or, at least, its longest sustained stretch of lightness, and as you get more into the album, you understand that this is something of a cleansing breath before it’s time to get deeper and darker. Impatient listeners may have issues with the mist-wrapped, near-static drones of the next track, “Astral Drift.” Moorcroft keeps the voices very low on this piece, both in volume and in timbre, and although there are shifts of sound and the emergence of fresh textures and directions, they come at a glacial pace in this 17-minute journey. Those who appreciate drone work will go deep into this one. I find myself halfway between. On different listens I have alternately been pulled completely into it or gotten to a point where I want something to happen. Regardless, its dark and mysterious flow makes a fine counterpoint to the lighter tracks.
In fact, “Sirens of Maya” leaps into your head after that down-the-well experience with high, bright tones that bounce into view. They get somewhat smoothed out as they go along, but also spend some time working through a hint of dissonance that rolls through the space. I pick up chime tones in the wash, and wavering pads that ripple across the piece’s surface.
“Transcending Memory” is a Steve Roach-style piece, the kind that blends moody darkness with a bigger stellar sense–The Magnificent Void comes to mind. It’s a dynamic ambient work, its pads in constant morphing motion like swirling storm clouds. The Roach sensibility rears up in sudden dramatic swells, and the whole thing has an ominous tone. That carries into “At This Body’s Final Hour,” which frankly is where Moorcroft loses me a little. He shoots for upping the dramatic ante, but chooses to do so by dropping in some big kettle drum tones. I understand the idea, but it comes across as out of place from what has gone before, and he’s already using super-heavy bass notes to give the piece the cadence and gravity of a funeral march. He offsets that weight with a rising, tonally brighter piano line, creating a powerful mood that doesn’t need the extra bombast.
I like the balance of light and dark that runs through Souls Adrift, in Disrepair. I think there’s just enough of a challenge in the heavier pieces, and Moorcroft skirts the edge of alienating listeners who don’t want that kind of experience. As droning as “Astral Drift” gets, Moorcroft gives it enough dynamism to make you maybe want to keep listening even if it’s not your thing. We can all use a little darkness now and then. It sets you up for the next stage of the voyage, and that path the album takes makes excellent sense overall.
Four years ago Chicago based Greg Moorcroft, the sole protagonist behind Eyes Cast Down, debuted with his album “The Separate Ones”, which I was fortunate to review several months later, in May 2013. In the meantime, during 2014, second solo album “Divinations” saw the light as well as collaborative recording “Memory Palace” with kindred soul Chris Russell. “Souls Adrift, In Disrepair”, the latest album by Eyes Cast Down, which is out since July 12th, 2016, was released by artist’s own Kalindi Music label and it’s packaged in a 4-panel digipak featuring stunningly immersing paintings by Royce Deans and Tali Farchi. This strongly enrapturing interaction was firstly born during a spontaneous, improvisational setting before premiering on a live art show in Chicago at April 1st, 2012. And four of five pieces presented on this album are connected to this multimedia jam.
Nearly 10-minute “Fading Angel” reveals layers of longing guitar drones, which drift, meander, reverberate, mesmerize… Introspective, smoothly sinuating passages distinguishably commingle with intricately high-pitched ear-tickling dissonant vistas. Although the mood might be rather minimal, hidden inside are lyrically enveloping nostalgic canvas, which masterfully amalgamate with the album’s visuals.
17-plus minutes long “Astral Drift” straightly dives into jaw-droppingly gargantuan depths, humming ultra deep drones briskly invade the scene and steal this magnificently transporting spectacle. A splendiferously dronescaping powerhouse is fully activated here!!! Ephemeral overtone-like groans sneak in here and there, but the magmatic flow is devastatingly adventurous and undeniably unlocks the gates of eargasmic transcendental Eden. Around 10th minute slightly relieving glimpse arise, but that’s just an “optical” illusion as the scenario quickly finds its tracks and resurrects all drone ghosts. Eerie ocarina calls arise as well and I am still swamped with ominously unfathomable drone walls. Even my weirdest expectations were surpassed with this composition, this is certainly Eyes Cast Down at its most exquisite, monolithic and desolate, a Drone Hall of Fame awaits!!! Enter now the Void!!!
The next piece, “Sirens Of Maya”, takes me back to earthier terrains sculpted with kaleidoscaping electric strings wizardry and painting thrillingly reflective and isochronally spiraling spellbinding images. As much rawly dazzling as harmoniously engrossing!
“Transcending Memory”, another longer track clocking to nearly 16-minute mark, maintains the deeply evocative route, where subtle monochromatic drone guards above, while relentlessly helixing desolations peculiarly bridge with poignantly magnifying, yet sinisterly traversing meridians. Aberrantly engulfing listening experience awaits here each devoted ears, this is obviously another epic composition superiorly exhibiting Greg Moorcroft’s extraordinary soundsculpting techniques. Bravo!!!
Transient pounding bass drum quite unexpectedly announces 18 minutes long “At This Body’s Final Hour”, which closes this highly astonishing journey. Mysteriously labyrinthine drifts are knottily counterpointed by poignant, yet evanescent piano patterns. Hallucinatory groans and voices are hanging above, interrupted occasionally by drum outbursts. Auxiliary female chorus (credited are Dasi, Greg’s wife, & Leyla) surreptitiously sneak in and numinously augment this ambiguously shapeshifting aural phenomenon. A grand finale indeed!!!
Greg Moorcroft, who mostly utilizes 6- and 12-string and fretless electric guitars, EBow as well as synths on this tour de force recording, has shown an enormous creativity and potential. This is a sensationally prodigious album, a truly triumphant 74-minute showcase of a challenging ingeniousness by its visionary force. I somehow can’t remember what my predictions were before exploring this album, but this doesn’t really matter, because as mentioned earlier, Greg Moorcroft has blew them all away with such glorious performance. A true gem, and still enormously hidden, among the most gifted pinnacles of 2016!!! Darker than the darkest, deeper than the deepest, hats off to Greg Moorcroft/Eyes Cast Down for this milestone, which must be encountered and applauded!!! A non-glass mastered format is the only limit here…
Regarding the latest updates, the next album by Eyes Cast Down is already recorded, it’s entitled “The White Island” and it should be out during the spring. The final mixing and artwork still has to be done. And last but not least, if you live near Philadelphia, mark in your calendar the date October 7th, 2017, because Eyes Cast Down will open for the iconic ambient guitar virtuoso Jeff Pearce at The Gatherings, which celebrates its 25th year. Then, after the concert, an hour live to air on Star’s End at WXPN Radio at the University of Pennsylvania will follow. Greg, you truly deserve such exposure!!! I really wish I could join…