Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling (BT020LP). Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio’s first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record’s two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts, and the sound of a Cristal Baschet to take center stage, but each time returning with the inevitability of an idée fixe.
Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record’s final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou.
Bringing together three of contemporary experimental music’s most individual voices, Face Time is an essential slice of outsider electro-acoustics.
released June 1, 2018
Recorded at Studios Ina GRM, Paris, June 2017.
Mixed at Good Mixture, Tokyo, September 2017 by Joe Talia and Oren Ambarchi.
Mastered and cut at D&M, Berlin, January 2018 by Rashad Becker.
Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental
approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself. Instead, it’s a laboratory for extended sonic investigation". (The Wire, UK)....more
This is just fantastic. Slow and deliberate with carefully intermingled bouts of controlled electronica, the wife of the late, great composer Luc Ferrari, herself an outstanding artist, delivers these magnificent pieces in conjunction with the knowledgeable and creative expertise of Jim O'Rourke, a man who drew enormous inspiration from Luc. Gavin Hellyer
An absolutely devastating, beautiful, horrifying project. Clips of old jazz transformed into a terrifying journey into dementia. It was a brutal 6 hours, but I am thankful for the experience. bongwaterboy