Eomac & Seán Carpio
TBR: 19th October
Eomac is back for a second bout of the ETXC series. A collection of four vinyl releases staggered over the months running up to Christmas, the Eotrax compendium features Eomac plus highly sought after names in the business. Mentioned previously on The Electro Review, ETXC001 featured the all-star Paula Temple and her deep and deadly artistic version of techno. This time, Irishman Seán Carpio joins Eomac for a seven track blaster of abstract and ambient soundcraft. Mirroring the micro-cosmos surrounding us everywhere we go, this record takes us into tiny worlds of feedback and progressive loops which all build together into something much greater.
Wolf Lichen starts with a sudden surge of sound, crystalline distortions scatter pitch and frequency on all sides of the geode. Broken wails of electronic sound splash and pierce with a dualistic anti-melody of white noise. From tiny cracks in the flat and near omniscient pressure of sound grow little shoots of programmed light which flicker and gradually break open their miniscule hatchery to sprout new directions. In similar ways to the iconic Subespai, unique and accurately composed textures fit together in fascinating and mind-catching ways.
As the second track builds from a flourish of whistle and fresh sounding synth crackle, several layers of interesting waveform are thrown into a large compression of sonics. Then, once the initial burst has exhausted its flame, a subtle and resonant bass with dabblings of drum fills the fluffy mixture. Hypnum is a short one and is soon replaced by the third instalment. Schistostega Pennata takes on a quieter and calmer sensation. Distant crashes and rumblings echo in the faraway background as a tonal wave flutters and sputters in a gradually growing amplitude. The pitch bends slowly, until a moment where it jumps into a higher key. The sudden instruction of the higher notes come in shorter bursts, then a droning pitch flies over the top of everything. The number explores how distortions of high-pitch tone relate to gabbing under-bass and percussive elements.
Parmelia Saxatilis takes that insisting wail from before and gives it a dancing partner. Electronic and mechanical sounds form strange correlations between themselves and the pitch is pulled down to meet the harmonising grunts of engineering. Then, clicking and computer sound almost like an old fashioned dial-up modem or programs on pre-recorded cassettes brings in the next layer of this sonic experience. Windy funnelling sounds throw us into the back of our seats while the digital readout throws shapes and numbers in periodic and strangely graceful dances of data. A thumping bass begins to stamp a clear message through the foggy jungle of rounded off noise and it makes a straight line path through the undergrowth. Soon though, this too is overcome by the effects of the natural environment. Rhytidiadelphus Squarrosus ends in a hysteria of revolving sound.
Digital Moss crumbles down to the flurry of life which clings on and leaches from the weathered rocks. Hooking roots of tense fibres nestle down and give anchorage to singular beams of distorted grapples. As the waves multiply and the frequency spreads, new effects and directions fill the missing spaces. What was once a blind wall of silence is now a full and rich dimension of sound. Perhaps the elements have created a new chink in the rock face. Droplets of textured liquid spill in glistening globules represented by oddly earth like sounds in this otherwise alien environment. Finishing on Physcomitrium, this entire EP stretches us into the epic world of tiny things made big thanks to the magic of studio wizardry. What we often call the sound between the music has been magnified and amplified into sculpted works of musical art.
Catch up with Sean Carpio on Soundcloud
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Rowan Blair Colver for the Homunculus Media Group
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