The album opens to a sphere of silences and a slow-growing distant harmony on The Slow Cancellation Of The Future. The UK-based French sound sculptor manipulates the time signature in a drone like cotton candy. It’s light, airy, voluminous, and translucent. It’s an emotive substratosphere unencumbered by anything but it’s pure melody that simply runs like a mountain spring. Shadows Out Of Time follows with an ethereal pulse. If science-fiction needed a new soundtrack, this would be a firestarter. Though it’s mostly below mid-range this packs a serious sense of dramatic dimension. The quietly curdling drone grumbles in diverted tones that emerge and recede as if you are rewinding something pre-historic in nature.
With titles like Echoes Of A Black Hole Eating A Star you cannot get more cosmic. And this mid-point track is a genuine example of an artist taking on a meditative sound gone awry. Imagine you are jettisoning at 17,600 miles per hour, it’s beyond most human physical comprehension, though this blast puts you somewhere in our galaxy, far from Earth. Then imagine the title unfolding in slow sequence. And you are hearing this track without listening – but I highly encourage you to put this one between your ears, in the comfort of headphones at a decent volume. You will surely be transported to an unknown world of deep terrain, and you are on your own. In so much as it is referential, I learned that the artist was “heavily influenced by the writings of theorist Mark Fisher, specifically those found in his 2014 book ‘Ghosts of My Life‘.
As for my first ever exposure to Mr. Savy, I’d reckon he’s a bit of a conjurer, speaking in unknown tongues, or perhaps one might say he’s made contact with beings, and shared the discussion. It’s really quite wavy and harmonious, yet hovers just slightly to the darker side of the light. The title Dislocations does, in fact, embody the feel of this record. It’s constantly slipping from consciousness yet continually bringing you back. Retrograde Amnesia, exactly.
Bringing us to a less startling, but clear(er) conclusion, Allow The Light does just that through its open sense of re-entry, we are going home – but it is truly where the ‘heart is’? That remains the crux, the tension, this becoming a sense of dislocation, in just how sound can actually convey this sense of gravity on a figurative/literal level. After the previous portions this neatly ties the whole album together in concept. The din of layered drone with a distant melody transports us. And after the free-range guitar pedal and synths have died down into the ether, the final minutes guide the ear gently ‘into that good night‘.
All in, this is one of the most trance-inducing explorations in recent memory, and will surely top my 2018 best listening experiences.