Belarus-based Greek composer and installation artist Thanos Chrysakis releases his tenth solo record, Equinox (Aural Terrains). The ten neatly, distinct tracks incorporate vinyl hiss, lagoon waves, and other frequencies as presented on Kermes Vermilio. The mood is a bit mysterious, like a curious search expedition of sorts. It’s offbeat with scoping synths that suddenly come to life on the treble-filled Prisca Sapientia that meanders and uses minimal effects persuasively. It’s also the longest and strongest piece here, in experiments that utilize high-pitch and low patter to contradict each other for a weird balance of atonality. Then we move into Mirrors upon Dunes with wavering, woozy mannerisms and awkward silent breaks, as if something is being tested and the tinkerer is patiently waiting on results.
Undercurrent Confluence has a fiery feel, with some cool distant congas and blended sci-fi attitude. I like the way the low-end rumbles and gurgles, and how efficaciously feedback is incorporated. The wind-up toy environment, with its tinkling, fuzzy keys on Frozen Forest sounds like a chunk ripped from the fuselage of the lifeclocks in the 70s classic Logan’s Run. The final two short pieces are fairly quiet, like test tones, they continue to operate with a mission not unlike a Homing Pigeon would. The track just floats but doesn’t soar, it’s electrostatic with minor changes throughout. Equinox is one of those records that has its highs and lows in terms of acquired taste, it also is likely one that requires multiple listens in order to get the central scope and shape of what’s to come.