|...PRESS...|
- - - - - - - - - -
- - - - - - - - - - - - - - - -
"We're talking about music with roots into the very concept of deep
listening: Smallwood and Moore are really two masters in shifting the
centre of your attention in any single moment of their artifacts, creating
a pulse with the noises from a bathroom or using badly received voices on
the edge of radio waves to picture entities from another galaxy trying to
get in touch. "
- Massimo Ricci, TouchingExtremes.com (review for
Out of Town CD)
"Large pieces of sound get propped up against each other, then topple
slowly but forcefully into your field of vision and centre of gravity. The
traces of the sound linger like a cloud of phosphorus scorch, and you can
lie back when it's finished, breathing the pure scents of industrial New
York at its finest."
-- The Wire 235 Sept. 2003 (review for Growroom 7")
"Stephan Moore and Scott Smallwood...conjure up wildly involving soundscapes that create and maintain unexpected buckets of of constructional and musical integrity..."
-- The Wire 243 Sept. 2004 (review for Moodspool 7")
|
|
|
|
|...PRESS...|
- - - - - - - - - - - - - - - - - - - - - - - - - -
"Smallwood and Moore make highly effective use of
the world as instrument ... the contours of actual locations melt down to a
distillation of their sounding properties. [Out of Town] finds cosmic and
glacial evocations in the everyday, celestial vistas in the heart of
banality. First and foremost, though, it's about hearing what's actually
there and opening that out to a deeper listening."
-- The Wire 236 Oct. 2003 (review for Out of Town CD)
"Out of Town is filled with magical moments as the world transforms itself in the
listeners ears."
-- Signal to Noise 32, winter 2004 (review for Out of Town CD)
"If you number yourself (as I do) among those who are aurally drawn to the symphony of a passing train or the rhythmic rally of a Ping-Pong game, then this CD is for you."
-- New York Times, March 1 2004 (review for Out of Town CD)
|