as coelacanth, jim haynes and loren chasse operate the tools of an imagined science to explore the various possibilities for sound to originate from traditionally non-musical materials. alchemy, as a systematic if impossible attempt to transform base metals into noble ones, is an adequate parallel to coelacanth's arena of research. chasse and haynes encourage sympathetic relationships between carefully chosen materials and sounds, and push them in ways that they might transcend their purposefulness. copper, stone, glass, sand, shortwave radio, rust, wind, water, and mud are the active participants in their events and situations, providing both metaphoric potentials and visual sensibilities for coelacanth’s activities. from these situations, the duo invokes a sound that is an aggregate of sustained harmonics, continuously evolving sound forms, and broad gestures of textural details, and that which could be described as a 'broken minimalism.'
mud wall represents the third report for coelacanth. within their metaphoric laboratory, coelacanth sifts through viscous electrical fields, slumbering vibrations, and aerosolized pricklings to arrive at a sublime construction coursing with a monumental physicality. coelacanth's sound research situates itself somewhere between the quiet expressionism of recent amm and the john duncan's psychological inquiries; yet at the same time, chasse and haynes prefer to leave the subject matter of their investigations an unknown quantity. in their purposeful hermeticism and ephemeral poetry, coelacanth teases potentials for meaning and allows the listen to fill in the rest
released July 13, 2004
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