Following on from themes explored in 2012's 'Detachment', this record aims to document a personal account of depression, anxiety and depersonalisation/derealisation.
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To buy the Digital Album or the LP direct from the label please go to the Morc Bandcamp page:
'A Still From The Film'... stretches itself deep into the horizon, drawing out extended drones in a tonal after-burn of sonic embers and trailing sounds. The LP’s first track sprawls across the entire A-side, wading in a distant and forlorn murk of paced subtlety. For 24 captivating minutes, the sidelong track almost culls you in with seductive patience and warm resolve. All you can do is wallow in its beauty. The B-side is broken out into three “briefer” tracks, incorporating a variety of sounds while retaining Gowers’ brooding demeanor. “Close your eyes” and “Distant light (2)” revel in a dusty, noirish lethargy originally perfected by Labradford, Windsor for the Derby and other “post rock” progenitors, while “Low red room (2)” focuses on a the decayed playback of errant radio broadcasts played in left-behind locales.
- Secret Decoder
With the A-side featuring “Low Red Room” one long droning track Karina ESP have plenty of time to explore their subtle soundscapes, crackles and pops entwined with slowly floating guitar drones that drift into the ether creating a dream-like state that corrodes time, the track hovering in the air like a great mystical bird. On the other side are three more conventional pieces, delicate guitar melded into treated vocals, the dream state still invoked, reminding me of Galaxie 500 in slow motion. Adding some percussion final track “Distant Light” is a thing of beauty, the spoken vocals barely audible pulling you into the song's melancholy atmosphere.
- Ptolemaic Terrascope
Side A consists of one long piece (‘Low Red Room’) that develops subtly, starting of with a warm static crackle out of which sombre chords fade before a gracefully plucked nylon stringed guitar marks a segue into a more sustained drone of ethereal modulating tones. Gowers’ mellow, clean and sustaining tone and the slow drift of the music here brings to mind players like Oren Ambarchi or early Taku Sugimoto. Side B starts with a stripped down song for nylon guitar and Gowers’ hushed, distant vocals. Then we have a reprise of ‘Low Red Room’ where the intensity of the drones and static is gradually built up and dissipates before it gets too uncomfortable. We’re back to the nylon guitar for the final track ‘Distant Light’, this time joined by bass guitar, drums and Gowers’ distant, depressed monologue. There’s a real grace to the restrained playing here that reminds me of another antipodean experimentalist, Dean Roberts. As the cyclical chord progression subtly amasses layers of ringing drones, every small nuance of Gowers’ manipulation of his sustaining guitar becomes prominent in how it affects the delicate balance of the piece.
- Norman Records
released July 23, 2014
Composed and performed by Chris Gowers between 3rd and 7th May 2013, at Acoustic Autumn Studios in Paisley, Scotland.
Guitars, bass, cymbal, singing bowl, radio, voice and effects pedals by Chris Gowers.
Analogue synthesizer and digital effects by Fraser McGowan.
Recorded, produced and mastered by Fraser McGowan.
Photographs by Chris Gowers, design by Wim Lecluyse.
Screen-printing by Smeraldina-Rima.
Special thanks as ever to Wim Lecluyse, and to Fraser McGowan for assistance, guidance and support.