Catalogue
Discus 4CD - Martin Archer - Ghost lily cascade
Reviews

"Equal measures of beauty, depth and an unadulterated focus that shines through both the combination of spontaneity and arrangements alike. A remarkable album." - Fourth Dimension.

"The drama is startling. Archer's chill, separate sounds hang in the mind long after listening. Special" - Ben Watson.

"These pieces fire the imagination and stir the emotions, conjuring an intriguing soundscape. Recommended" - Wire.

"Intriguing and fresh sounding" - Resonance.

"Archer at his finest" - Noisegate.

"Rich and complex ..... dark and subtle ..... a unique blend of control and spontaneity" - Variant.

"Toujours aux croisees de l'electronique aggresive d'avant garde et des musiques serielles, Archer delivre sa musique avec la serenite d'un angoisse chronique et fait de cet album une merveille de tension alternative. Sans jamais etre absconse, toujours en retrait et assez souvent melodique, la musique se cache derriere les rideaux etranges d'une cascade assechee." - Jerome Schmidt, Art Zero.

"A sense of prolonged anticipation and constant surprise. A consistently fascinating effort, which confounds expectations even after repeated listening." - Bill Tilland, Motion.

"Elegant.....understated.....disturbing.....worth playing to death" - Progress Report.

"The programmatic texts which accompany both of these disks refer to stagnant waters; an appropriate reference, both as an analogy and, in a more tenuous sense, as a Freudian symbol. Like a dark pool, the music has a lapidary surface which speaks of hidden depths, of activity deep beneath what is visible. Superficially, for example, the pieces on Ghost Lily Cascade often seem to go nowhere; there is little by way of conventional development. Instead, subtle ideas flit up to the surface only to vanish again, creating a music in which, moment-to-moment, as the French have it, everything changes and everything stays the same.
Archer created the compositions on the earlier disk using improvisation as a sound-source or "detail generator". His keyboards are the most prominent feature, but all but one of the tracks -- "Telecottage", the most conventional on the disk in terms of rhythm and harmonic structure, a track which a fan of The Orb, say, would have little difficulty with -- all but one includes at least one collaborator. Archer has carved up their improvisations and re-assembled them, allowing "chance to shape many of the events" but also, surely, applying careful attention to others.
"How did that story end?", with sampler work by Collins (an important sideman on this disk), is everything 88 Enemies promised to deliver but did so only sporadically -- a post-piano music of intricate angularity and eerie directionlessness, interspersed with the most disturbing musique concrete interjections -- voices, telephone tones, digital glitches, footsteps. Ghost Lily Cascade is at once approachable and inaccessible, a beautiful building without a door. One walks around it, seeing intriguing movements through the windows, always shut off from its secrets. Dense, knotty and abstract, its surface as blank as a pool of water, it calls to mind Adorno's conception of high modernism, an enigmatic, plastic form which confronts its social context with its own alien impenetrability". - Richard Cochrane, Musings

"This is a language of sound which has only recently been compiled into a modernist dictionary, but Archer is fluent in it." - Steve Hanson, Ptolemaic Terrascope

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