カナダはトロントの実験バンドPicastroのメンバーとして90年代より活動、並行してソロ名義で2011年にEntr'acteよりソロデビュー、その後もOrange Milk、Notice Recordings、Machinefabriekのプライベートレーベルからも出版をしている、奇怪なエレクトロアコースティックを得意とする音楽家Nick Storring。Rhys Chathamの音源にも参加した事もある実力派であり、本作は電子／テープ音楽の著名作家Noah Creshevskyへのオマージュを含む変則リズム集。多彩な楽器群を不安定なシーケンスにてユーモラスに組み上げた全7曲。
I hear Brazilian singers.
And clearly they are not there.
The music seems convinced of the presence of Brazilian singers.
That was my first coherent thought after listening to Newfoundout
In what must be a profound list of instruments or sound sources heard on this record,
I doubt we will find Milton Nascimento, Nana Caymmi, or Maria Bethânia.
I hallucinated them.
Because hallucinations are clear.
And there is a lot of hallucinating going on here.
The music hallucinates itself.
And leaves space for us to hallucinate along with it.
The instruments play, and they play wildly, in a state of hallucination.
The music slides in a slow and light state of relocation.
This is a balade.
And as we sway we may notice things, they may come to us,
often only for mere seconds before evaporating in a clear decay.
The hallucination is the space in between us and the music.
The space, ever-modulating, of the encounter itself.
An encounter constantly and slowly composing and decomposing,
forming and deforming and sensually blurring the lines in between.
A clear haze.
The music guts and lushes without rising or falling.
This is not an orchestra
This is not a paragraph.
A bordel of instruments.
Clumps of moss.
Stretched out like rubber bands.
Flat on the ground.
Hanging under a tree.
A band in a hammock.
In the grass.
They are squatting in the heat.
This music thinks birds sing just for joy.
A radical obedience of joy.
There is a rub.
This is some kind of rubbing music.
Everything breaths here.
Tropical lungs. Steamy courtyard. A clear sweetnighter.
― 𝙀𝙧𝙞𝙘 𝘾𝙝𝙚𝙣𝙖𝙪𝙭