ICR

Besides the evocative photos by Patrick McGinley (aka Murmer) adorning the sleeve, no clue is given about the origins and the meaning of Husk, which signals Jonathan Coleclough’s return after Long Heat, his 2005 release with Lethe. The initial title track is a classic of obscure droning resonance, trademark Coleclough, all growing pressure, dark currents and menacing thunder. “Approaching Pucara” is a simpler collage where an agglomerate of low frequencies is disturbed by an irregular emission, while “Fieldwork” is almost musique concrète, a detailed fresco of traffic noise and natural sounds, with some object rustling for good measure. “Germ” is a slow, deep pulse enhanced by the passage of dazzling aural clouds, an addictive track with subsonic refractions changing with our movement in the room, like listening to a ghost choir accompanied by a distant aeroplane. Put your smart money on the special limited edition, though, because it features a bonus CD whose music is just as good, maybe even better. After the humming subterranean energy, irregular pulse and scraping of “Wend”, “Freon” juxtaposes an ever-present rumble with fumes of flanged waves extinguished by strings and tiny percussive clatters. The almost ritual percussive pattern about 12 minutes into the piece rings distant bells of early Jeff Greinke. “Pucara” closes the show with more metal percussion over another haunting chorale of undecipherable origin – voices, a processed/looped traffic jam or what? For you to discover.

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