“ást” means Love in icelandic and this record has been composed and recorded after Fallen aka Lorenzo Bracaloni who also records under the name Child of a Creek. The inspiration for this release is domestic bliss with his partner
““ást” tries to tell how this year has changed me as a person and as a man,trying to focus the attention on little things to which we generally do not pay attention to, because we take ‘em for granted, but in my opinion (and this is usual to me, I don’t have the habit to take things for granted) they are absolutely important.“ást” is everyday life and smiles, cries, fights at night. “ást” is heart beating, “ást” is to breathe. I composed and recorded the album between October and December 2017 and I remember I used to feel serene during the recording sessions; maybe it was the first time in my life as a musician (composer and folksinger as well) in which I felt really serene while composing an album..”
“ást I” slowly making their way through silence are drones of a bright quality which move ever so slightly from their path. A bed of field recordings featuring water, insect and people talking signals the arrival of minimal piano and feedback like drones that scream across the soundscape. The music flows evenly with a replaces feel about it, letting the parts wind their way around in loops as they cut in and out. The even tones and sounds are a nice introduction to the album.
“ást II” a more electronic feel is noted with the throbbing sounds and the granular noises that join the long linear drone and piano. There is a sense of something ominous especially when post industrial – like sounds cut across. The piano has a very slight melancholic tone to it and adds as a center point, even though the drone and granular sounds are the only permanent constants. I am not sure where this fits into the theme of love and contentment though, as it feels quite moody.
“ást III” returns us to more melodic textures with the light airy drone that flows outwards. Flickering almost glitchy noises enter the picture with a reverb attached to them taking us out of out comfort zone we were placed in by the drone. Darker metallic noises join in as do modified guitar lines (?) or synths act as a melodic touch surrounded by these noisy loops. Electric guitar ambience ripples out, somewhat countering the darker territory. By this stage the ambience of “ást I” seems a distant thing.
“ást IV” begins with wiry drones that vibrate and hum like electrical poles. Howling drones and glitchy static cover these sounds before guitar drones arch across which is added to by simple beautiful piano that provides a respite and melodic touch to the track. The pulsing drones from the beginning also ground the track. A wall of feedback close to the end signals both the end of the track, but also provides a nice diversion from the static.
“ást V” the twangy guitar drones that open this track lead into a drone piece that feels it’s representing an ever-changing weather pattern. A shift in sound occurs with loops of sound including piano, what sounds like modifies wave recordings and other distorted sounds (one sounds like bricks rubbing together, but surely is not). The construction of the track is similar to that of a pop song where the section that the piano comes through being like the chorus of the piece and the motif that it returns to. Some gremlin like electronics make their way in in the last-minute and a half, but I don’t feel they fit in too well and detract from the track slightly.
“ást VI” drones radiate outwards broken up by guitar chords that sound like rocks thrown in calm water that then ripples outwards. Loops recordings of some sort of detritus joins in before a slight storm feel comes across the piece with a long never-changing mostly drone cementing itself in the track. Waves of ambience joins in, before the previous elements start circling around, changing their configurations before a storm leads us to silence.
“ást VII” glitching clattering sounds build up over warping synth drones before another drone, piano, bells and a squalling sound join in. The clattering sound has a percussive quality and the bells are a welcome melodic touch as is the piano. The music works in loop form in returning waves as opposed to constantly being there. Bracaloni utilizes the methods of addition and subtraction to make the music, make it familiar, but also not boring.
“ást VIII” chimes, fractured radio recordings, drones and backward squally sounds lead into the most fluid of the minimal piano featured on the album. The piano creates a bit of a rollicking feel to the track while the other elements are consistent in their sound and placement. There is a feeling of Nostalgia and I am not sure of all the tracks are to be a chronological expose on love, but this musically feels like it is looking back and inwards.
Recording an album with a central feeling of love can be a difficult proposition, simply because it can be opened to interpretation by other people. I wouldn’t particularly be able to, hand on heart say I got the feeling of the theme of love straight from the music, but as you read the press notes it does state this: “ást” is everyday life and smiles, cries, fights at night” which could possibly explain some of the sounds included. I will leave this up to your own interpretation.
“ást” comes in two editions. The usual amazing Time Released Sound art edition in a uniquely hand collaged reel to reel box with various ephemera and a more traditional digipak version.