The release’s use of industry recordings and the gentleness of the music, which frequently seems to increase the field recordings as a sound complement to the use of land, are its distinguishing qualities. Instead of making any comments, Seaworthy and Matt Rösner attempt to engage in a friendly exchange. They let the scenery speak first. This means sub rather than mega music, sentences rather than sections, with spaces in between. The music in” Fallen Trees on the Far Shore” makes the listener think about communities as the plants grow food for the earth and chirp over the bounded flow. Fallen is more healthy than felled.
Thoughtful guitar, piano and ( very light ) electronics imitate the glitter of sunlight on water, the pathways of insects and animals, the opening of petals to the sun. The surrounding neighborhood, then a wildlife sanctuary, has been the motivation for generations of artists. ” Whispered Surfaces” best epitomizes this beauty, with a beautiful biophany of lightning, water, bird and birds. The musicians add their own songs to an already flawless panorama before interjecting with reluctance. At the end, they fall suddenly silent, drinking in the last roars of lightning.
The titles” Boundaries” and” Landscape, Shared” drive the point home. When the industry recordings and audio find harmony, there is little needed for boundaries, for there is no violations. Different species find ways to promote their soundscape, mainly surrounding frogs and birds, at different times, but humans struggle to do so. While Seaworthy and Matt Rösner do not specifically comment on noise pollution or land capture, they do n’t need to do so, their point comes across, quietly and subtly, yet firmly. ( Richard Allen )