This is one several improvisations I've made inspired by the paintings of Paul Klee, with whom feel an especial affinity in terms of colour, pattern, structure and the more programmatic juxtapositions of flora, fauna and mythic references that find analogue in the modality of the music & touch upon another level of the purely figurative. Klee uses two dimensions to imply a third, or a fourth, in terms of space / time eventfulness in which the moments become pure real-time improvisation, or else the product thereof. He uses light to redefine darkness and vice versa.
I surround myself with his images, even to the point of using them as blue-prints for musical wanderings, such as this one, derived from his painting EROS (1923) which comes in at around 40 minutes or so. It seems strange going on for so long when Klee contented himself with small canvasses on a more intimate scale, but the vision of his work transcends the usual considerations. It is vast, and ever growing; an expansive glimpse of the possible, or the impossible, which all art must be in terms of its inner alchemy.
The cause of art is magical and transfigurative : here, nature is redefined according to some other law, one born from human perception which seldom takes things at face value or reacts against such things for their evident lack of the traditional. The process lives, eternally, in terms of what is, and what must be if only because we have no choice but to create. Nature beckons, so we must follow.
I confess this is a seasonal thing with me. In September I turn inwards from nature, and gather by the hearth of art; to light the stove and draw the curtains in dread of the cold and dark without as autumn falls away to winter, which usually takes me several weeks of adjusting to come to terms with. Communing with the works of Paul Klee is one way I have of doing this. Come the equinox, I'm out there once more.
I might add that I never know what I'm going to do until I do it; I am a medium in a sound-world which I do not create, but somehow effect, much less control, as much as it controls me. The technology lives and breathes very much of its own chaotic accord - all I do is to carefully nature the soil, and listen until my very soul is redefined, or else my every expectation of this thing we dare call music.
'I feel like Wainwright - we are both hermetic ramblers. He made his books for when he was no longer capable of rambling
his beloved fells, and I made my music for when I'm no longer able to ramble the by-ways of Albion - but only to listen, and think "Was that really me? That solitary figure who stood in a landscape dreaming of ages past in dread fear of the future."
Hauntological ambient from the UK's Mute Branches—tense and evocative, imagining the sounds of urban myth and folkloric mystery. Bandcamp New & Notable Sep 8, 2020
Murky and mysterious sounds from Jonquera, depicting, “a feudal struggle between a heretic woman & a priest in the small town of Charlieu.” Bandcamp New & Notable Dec 13, 2020
Adam Cresswell (Saloon, Arthur & Martha) builds ARP strings, drum samples, and krautrock grooves into a magical-realist synthpop collage. Bandcamp New & Notable Apr 6, 2022