If you want to go fast, go alone, but who wants to go anywhere when there is so much going on in the going. When moving with Christian Mirande’s Property Line/Plunge Pool The distant scamper of fellow travelers, the noise-y growling of engines, and the low consistent wail of transportation objects, both near and afar, become quite a bit more satisfying than finding a final stop. Internal visual images appear out of the sounds of slowly moving feet across a gristle of grass and swelling drones admits a crowd, on Subsumed Though Not Quite and Oxford Valley, respectively. Musical bits float into these pieces and abstract the aforementioned background sounds from any source the listener could imagine. Environments, spaces, whatever one finds oneself in when standing, hold multiple sonic fields used to identify surroundings, however, when these threads are weaved together, as on this tape, understanding one’s surrounding loses priority to being where one is. Regardless of how fast we are traveling music, human made, pervades us and the melodies that drift out of every experience are hard to shake. Property Line/Plunge Pool builds itself into the late night interstitial and lulls those constant melodies from the tip of the experience down to an even level with the ambient cultures that the rest of the tape prioritized.
supported by 8 fans who also own “Property Line / Plunge Pool”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt