NEW: Mamiffer/Circle – Enharmonic Intervals


Recor­ded over a sin­gle day at Keski-Porin Kirk­ko, the nine­teenth-cen­tu­ry stone church in the heart of Cir­cle’s home­town, the basic tracks for Enhar­mo­nic Inter­vals exu­de divi­ne inspi­ra­ti­on. Cares­sed by Faith Coloc­cia, Aaron Tur­ner, Jus­si Leh­ti­sa­lo, and Mika Rät­tö, the house of wor­s­hip­’s immense Paschen organ sets a lit­ur­gi­cal, con­tem­pla­ti­ve mood, which per­sists unaba­ted through a cycle of impro­vi­sa­ti­ons and short com­po­si­ti­ons.

The album opens and clo­ses with slow­ly buil­ding sin­fo­ni­et­tas of sus­tai­ned dro­ne and flat­li­ning feed­back that shi­ne hea­ven­ly light onto the wan, aca­de­mic corp­se of avant-gar­de mini­ma­lism. In the midd­le, all sorts of hell breaks loo­se: Coloc­cia chants wor­d­less omens on a distant shore, Tur­ner shouts his lungs out, Leh­ti­sa­lo speaks in tongues from atop syn­the­si­zed snow­banks, Rät­tö gar­gles ope­ra­tic gib­be­rish, hum­ming­bird gui­tars flut­ter past, and deli­ca­te chords glis­ten like dew­drops on Arc­tic lichen. Much of this earth­ly ruc­kus stems from addi­tio­nal ses­si­ons spent brain­stor­ming, fine-tuning, coo­king, and sto­king the sau­na at the Leh­ti­sa­lo fami­ly cot­ta­ge, deep in rural Fin­land.
(A cou­p­le of mon­ths later via the mira­cle of tech­no­lo­gy, Eyvind Kang tacked on a spot of vio­la while visi­t­ing Tur­ner and Coloc­cia at their Washing­ton sta­te abo­de.)


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