Touch releases the latest adventure by Mark Van Hoen just today, its called Invisible Threads (CD/Digital). Let’s attempt an unveiling as I need to play catch-up since his last record I experienced was 2012’s amazing The Revenant Diary. Starting with the top track Weathered, the mood is strangely symphonic, light crackle and hiss over an otherwise moody, darkened mid-range synth drone. It’s pure aural theater from the start. The foreground actions are minimal while the back is bold and shape-shifting, with a random radio frequency throwing practically inaudible voices that are assimilated into the mix. Dark Night Sky Paradox continues without the tail end, and adding a slightly higher pitched tone creating a bit of an alarm. This feels like an extended overture in suspension.
Inflections of his past work are coyly scattered throughout, but Van Hoen has matured in his editing, and paring down any excess, keeping each track here packed with drama. The air is goosepimple inducing on Opposite Day. It’s part tropical forest meets part space exploration, with a tinge of shadow play. He’s heading into the world of independent soundtrack scoring in the foggy space created on The Yes_No Game. Strident synths, lapping waves and bare whispers become space age symphonic. This blend of unyielding artful restraint is also indicative of label head Jon Wozencroft‘s ghostly green coverart, like a found object from another galaxy.
It’s been since 2010 that I saw him play live back in Seattle (my Resident Advisor nod) and this is a great chance to re-kickstart with a true sound artist. The final three tracks continue are bathed in the balance of luminous trepidation, most notable in the vast reverb of Flight of Fancy. It roars tensely, quietly into Instable which is quite a dizzying mix of a swirly synthesizer that sounds as if it’s being broadcast inside a cathedral. The conclusion is on-point, especially if you appreciate a great disappearing act.