Double bass, bass guitar, analogue synthesizer, vibraphone, piano, percussion, field recordings.
It’s the Australian composer’s 6th solo album since his debut, Ink On Paper (2008) and possibly the strongest demonstration of his innovative extended technique, deployed in two subtly contrasting yet equally hypnotic sides. Using rapid bowing technique to paradoxically generate ostensibly static, sine wave-like tones, coupled with analogue synth, vibes, piano, percussion and field recordings, Majkowski explores the perceptions of “stillness” and “movement” which give dynamic form to the content of musical composition. Effectively, he makes his main instrument sound electronic, yet due to the acoustic harmonic richness it’s capable of, the results render a much lusher, immersive, and subtly chaotic spectrum of spectral sonics than one might typically expect from purely electronic sources. The B-side, Structure and Posture dissipates the tension into slow, swooning contours giving rise to a glowing aurora of consonant overtones, which, once you’ve settled into their shadows, begin to deeply recall the doom jazz introspection of Bohren Und Der Club of Gore or the exquisiteness of Elodie stretched into the horizon.