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Claire Rousay: Everything Perfect Is Already Here review – everyday sounds that tug at the heartstrings | Experimental music

The “emo ambient” tag appears to have caught for the music of emergent San Antonio artist Claire Rousay, and in all equity, it suits fairly effectively. Her work, at its core, is an experiment in utilizing commonplace environmental sounds to tug on the heartstrings straight. Across her rapidly rising discography, discipline recordings of lighters, typewriters and different home paraphernalia seamlessly mingle with voice recordings, text-to-speech and the hesitant harmonics of classical instrumentation and drone. Under her route, these parts appear to coalesce into one thing greater than a mere assembly of acoustics and textures, evoking emotion, reminiscence and a hanging sense of vulnerability within the listening expertise. This is music for Oliveros-inspired deep listeners and for poets discovering which means among the many mundane.

On her newest file, Everything Perfect Is Already Here, Rousay welcomes melodic parts into her compositions: on It Feels Foolish to Care, wandering harp progressions be part of slumbering violins, voices and laughter, and presumably paper rustles and poured liquids; a piano chorus drops in in direction of the tip with out buildup, tender but sudden sufficient to hit like a stunner out of nowhere.

Rousay’s percussionist tendencies floor on the title monitor, although her “kit” now consists of microphone scratchings and the transient actions and exchanges of people. Transitionary wind sounds and leaf-crunching footsteps stroll the monitor over to its eventual harp outro, although it’s exhausting to make certain whether or not we’re coming or going. Between Rousay’s drones and disruptions, melodics and arguments, the album turns into a spot for feeling within the current, untethered by time, as acquainted as a reminiscence and as placeless as a dream.



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