Since his debut on Tri Angle Records in 2013, Fis has released a string of acclaimed albums, including his Subtext debut From Patterns to Details in 2016, ending up in end-of-year lists at both FACT magazine and The Quietus. Starting with Thorne‘s taonga puoro recordings, Fis sculpts bold new settings for the music, mired in deep bass and vast synthetic tones, at times pushing Thorne‘s wood, stone, and bone into total transformative saturation. The conversation that emerges between these two artists encompasses technology and nature, computers and physical instruments, historical narrative and the present, perceived secularity and sacredness, framing them all as aspects of one single, conscious whole.

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The focus on process and uncertainty is apparent in the album’s phrasing, re-articulation and cycles of repetition and deviation. The pieces were composed from sounds generated on the KYMA system, personal foley recordings as well as tape manipulations techniques. Minor sounds on major scales and micro-tonal tuning suggest an ambiguous harmonic sphere. These were then integrated within idiosyncratic rhythmic structures, at times integrating real spaces and resonating bodies as reverb and augmented echo chambers. Concrete, almost-recognizable organic sounds contrast with these abstract spaces and connect them to tactile experiences. These textures and structures are a palette that reforms and deforms as it cycles throughout the album.

The photographic series “Relax (blue)“, 2004, by the artist Josephine Pryde was chosen for the album’s cover as a materialization of tension. The two images represent a closed cycle of energy and unfulfilled release.

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