"I approached Solar Wind by Evan Parker (soprano Sax) and Lawrence Casserley (signal processing instruments) without looking at covers, titles or liner notes. Waves of acoustic, electronic, analog and digital cyclic delays, inseparable music expanding in all directions at once. Particles/waves of sound some with no discernible mass, shooting through. My perception is without pause for association. The intended equal with the unintended. Muffled bottom end and difference tones are sieved from the colliding systems above. I go looking for Parker in this mist - his instrument has expanded into a metasax. Four minutes into the second track he suddenly emerges, the rasp of his reed chased by an attentive delay which diffuses into overall washes and strangely vocal-like side effects. Computational number crunching produces digital glitches and pops that provide a topography, a surface, like the dust in Duchamp's Large Glass. Serene long tones against a faint tapping evolve into sculptured slithers of shimmering unstable filtered tones. At one point there are lots of raucous little harmonized Parkers sounding like my modem. Foreground and background crossfade as new distortions evolve.
This music mimics natural open-ended systems because this is a chaotic natural phenomena itself. The byproducts of process are everywhere, nagging difference tones and the gritty dirt of chaos. Gated turbulence is engulfed by searing long tones that fry your ears with intensity (phased sherbetty tingly sensations). Key clicking foregrounds with power and presence: digital drips in a sea of bright white sound. It's an awesome CD. After listening I peruse the photos of Karen Mirza, Jon Wozencroft's design, the quote from Borges in the booklet and the ambiguous titles. None would have harmed my experience."
Jim Denley, Resonance
1. Pachacamac
2. Epicycles
3. Coyolxauhqui
4. The Central Region [for Michael Snow]
5. Tlaloc
6. Solar Wind
Evan Parker - Soprano Sax
Lawrence Casserley - Signal Processing Instruments
link @320 (back again)
Read an article by Casserley himself on the technical apparatus behind this recording here.
