Cut A Lonely Figure

Cut A Lonely Figure | In Sea, In Circles, In Concrete
pan y rosas discos (DL)

The simplicity of chorus-effected guitar in the fading-in ripple that commences In Sea, In Circles, In Concrete by Cut A Lonely Figure after several measures is readily joined by a stereo-panning noise loop.  The four note walk-down and pop of the looping melody is strangely plucky when coupled with the 8-bit dog growl sounding sample.  Over the first third of the singular track release, the two elements build incrementally with each repetition.  

A subtle phaser sample pitch enters.  This addition has a kind of stringed slide vibe.  Bass, reserved for the back row also enters the fold, tapping out a singular note.  Minute evolutionary tweaks play over the consistent structure.  Time kind of stops in this fourteen minutes.  When the ‘robo-dog bark’ slips out of the mix you kind of miss it.  A couple minutes pass and a variation of it returns.  Now however, it’s more hissy and reduced in volume.  You know the sound of your ship exploding when colliding with an asteroid or the centipede blasting laser tone of Atari games?  It’s like that, pulsed out, over a reverb backdrop.

We are now entering minute twenty, but time has already been frozen.  It is just a medium for the hazy continuation of what simmers.  A synth presence now.  High notes bleep minimally with an unwavering held ‘C.’ We hear some octave play before minute twenty nine.  In the culminating last six minutes, screeching bits scatter.  This is what the press release describes as ‘sounds of magical creatures battling.’  Certainly a Mothra™ in the mix. David McNamee turns out this chaotic drone composition care of Blue Tapes and X-Ray Records.  

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