Rick Tomlinson of prog-folk luminaries Voice Of The Seven Woods unveils his latest album in the form of the brilliant 'Phases Of Daylight'.
Starting with the minimal horns and electro-acoustic chattering of 'Final Sunrise Morning', setting a languid but perceptible arc of crescentic bliss with GYBE-esque melodic counterpoints and stark icy minimalism. We see some more of the spacious and fulfilling ambient echoes skittering around in follower 'Cloud Hum' but rather than the steady swelling drone of horns, we get tuned percussives rattling around the stereo image, forming the titular hum around organic sweeps and reverberating dusted echoes.
The solar interlude is a beautiful and hauntingly brittle acoustic piece, centred around a reticent plucked string riff, which sets the scene perfectly for the spacious rainforest chimes and sparse percussive elements in 'Daylight Phase'. More often than not, true musical beauty can be distilled down to one or two elements, surprise artifacts in an otherwise expected outcome, and Tomlinson manages to make the most of this fact by keeping everything he does within the realms of improbability. 'Visual Spirit' is a prime example of this, with it's soaring drone motif being punctuated with tickles of metallic percussion before segueing into a primal and glimmering eastern-influenced swell of sound, bringing together all of the previusly assembled instruments into a perfectly arced cacophony of percussion, drone and melody.
Following on from the cosmic binary space-station radio interference of 'Nail House', rife with frequencies felt if not necessarily heard individually, the mesmerising alt-folk majesty of 'Living Stream' brings us to a crepuscular and fitting end with it's driving acoustic motif and stabbing percussion.
A mesmerising and beguiling collection of patiently forged sounds, beautifully collated instruments and curated with a defness and restraint rarely heard in experimental music today. Haunting, visceral and beautiful.
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