This, placing emphasis on the auditory details of the blur Itself: 'Figure's Lone Static' serves as a good example of When there's an essential quietness to the central sound mass Kind of auditory fog, and the richness of sound that comesĪbout from this misting achieves the most compelling results Consequently, the record sets out to study a Other processes that would shroud or otherwise obscure the Japan and submits them to filtering, harmonic distortion and Takes both instrumental and found sounds cultivated fromĮnglish's travels around Poland, New Zealand, Australia and Instead, Kiri No Oto (a Japanese phrase meaning 'sound of fog') Takes leave of the disciplined microsound ventures that madeĪlbums like 'For Varying Degrees Of Winter' so involving. On hiatus from his own room40 imprint, Lawrence English also
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The first in a series of records employing this technique, Kiri No Oto explores the richness in the frequencies that are usually associated with extremes of volume and through this process the recordings position 'the ear' itself as 'another layer of auditory fog' as it begins to distort and alter the sounds it comes in contact with." Focus, like that in a fog, is in a constant state of flux as elements are brought into and out of perspective. Utilising a range of divergent mixing techniques, analog filtering and 'harmonic' distortion, Kiri No Oto offers an expansive sound space in which the listener must choose to position themselves. In the same way that visual objects loose their perspective, form and shape in these environments, the sound components that make up Kiri No Oto are not quite as they first might appear. In many ways it's a collection that meditates on the sense of displacement and distortion that occurs in environments which undergo extreme mists, snowstorms and sea sprays. "The Japanese phrase 'Kiri No Oto' loosely translates to the 'sound of fog' or 'sound of mist'.