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PARLANE, ROSY — Jessamine
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"Wie schon am ebenfalls bei Touch verlegten Vorgnger Iris finden sich auf Jessamine lediglich drei Tracks, nach der Betitelung wohl als Teile eines groen Ganzen zu hren, die vom Umfang her wieder eine Spieldauer von fast fnfzig Minuten erreichen. Dabei weisen deren durchwegs von Rhythmus und Melodie befreite Konturen recht eindeutige Zge klassischer Drones auf, die in den entscheidenden Momenten von monolithischem Drhnen weg in Richtung konzentriert geschichteter Textur-Overloads tendieren und grozgig angelegte Spannungsbgen vornehmlich aus gekonnt inszenierten Intensittsverlufen zwischen Loslassen und Verdichtung rekrutieren. Das dazu notwendige Instrumentarium ist zum Groteil akustisch und reicht von Gitarre und Piano bis hin zu Field Recordings, Radios oder verschiedenen Haushaltsobjekten. So bleibt auch nach dem digitalen Reiwolf eine, durch die glasklare Produktion eigenartig verstrkte, organische Grundstimmung erhalten, die durchaus im Widerstreit zur fokussierten, geradlinigen Ausrichtung der Tracks steht. Da gibt es kein Ausfransen, kein flchiges Abschweifen; Parlane entwirft einen beeindruckend konsequenten, fast schon konomischen Flow, zurrt die unruhigen Kleinstbestandteile, knackend, knisternd und Obertonfunken schlagend, zu drei hypnotischen HighTech-Ambient-Monstern zusammen und setzt auf die Dramaturgie der Dynamik. Oder umgekehrt? Whrend jedenfalls der erste Track noch vor dem Klimax ein trotzdem vershnliches Ende findet und die groe Erlsung im folgenden lediglich sprlich angedeutet wird, eigentlich nicht mehr als ein digitales Buerchen darstellt, explodiert das beinahe zwanzigmintige Schlussstck aus mittels Kaminfeuerknistern geerdetem, euphorisch verstrichenen Klanglayern zu einer wahrhaft infernalischen Wall of Sound, aufgezogen mit Hilfe von acht Gastmusikern, die ihre elektronisch verstrkten Streich- und Saiteninstrumente hier zu einem Crescendo auflaufen lassen, das seines gleichen sucht. Die Sicherheit und Konsequenz, mit der Parlane seine Soundskulpturen bearbeitet, sowie eine herbe, oft schwer fassbare Schnheit, die sich gleichermaen durch harsche Noisewlle und entschlackte Ambientpassagen streckt, machen Jessamine zu einer enorm intensiven Erfahrung und darber hinaus zu einem der besten Alben an den Outskirts elektronischer Avantgarde des vergangenen Jahres." [Tobias Bolt / Quietnoise]
"This is New Zealand-based (and former Thela member) Rosy Parlane's second full-length release on Touch. His previous album, Iris (2004), was hailed by Jim Haynes in The Wire who wrote: "Jon Wozencroft's impeccable photography and design packages Rosy Parlane's Iris inside a predominantly blue package, inextricably linking the music to the emotional resonance of the color... He flushes his soundfields with cascades of digital fragments which he separates into two distinct compositional categories. On the one hand, Parlane stretches sounds from guitar, piano and organ into unrecognizable drones that swell into dense layerings, every once in a while coalescing into fluttering half-melodies. On the other, he emphasizes the textural qualities of those digital fragments, simulating the natural acoustics of ice crackling from trees in winter or the gentle patter of rain on a windowsill. When fusing these together by placing the textures against the backdrop of the drone, Parlane effectively builds pointillist sound environments with a profoundly human melancholia." With Jessamine, Rosy develops these themes, and continues to incorporate new musical elements from unconventional as well as orchestral instrumentation. To him, everything is an instrument: from household objects to nature sounds. But it is the human element which gives his work such a distinctive sound. Ranging from ambient to noise, he gives full rein to textures of living; to start, languid and mournful; later harsh and assertive. Jessamine is a magnificent follow-up to a classic Touch debut. Rosy Parlane: electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw, amplified sawblade, bowed metal, household objects, contact microphones, field recordings, radio, computer. Additional contributions by Marcel Bear, Tetuzi Akiyama, Lasse Marhaug, Anthony Guerra, Michael Morley, Donald McPherson, Matthew Hyland, David Mitchell, Stefan Neville and Campbell Kneale." [press release]
"A little over two years ago, Rosy Parlane, made his debut on Touch with 'Iris', following solo releases on Sigma, and a membership of such bands as Thela and Parmetier. Three tracks back then, and on 'Jessamine' again three tracks. Rosy plays here electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw (an instrument designed by Marcel Bear), bowed metal, household objects, field recordings, radio, computer and contact microphone, and if that isn't enough there is also help from a whole bunch of people who played guitar. The first track starts out in common territory: ambient glitch made with bowed guitars, violins, but Parlane's music is more angular. It has a sharper edge, already in this first piece. Even a bit of old Organum could be traced in these scraping and bowing sounds. It's hard to say if all the instruments mentioned on the cover are also there, but guitars are definitely there. In the loudest part, 'Part Three' things become orgasmic loud, almost in a Merzbow manner, but Parlane keeps things nicely under control. Overall, Parlane has a richer sound than on 'Iris', there is more happening and he is stepping out of the more safer microsound glitch. Quite a leap forward!" [FdW / Vital Weekly]
"This is New Zealand-based (and former Thela member) Rosy Parlane's second full-length release on Touch. His previous album, Iris (2004), was hailed by Jim Haynes in The Wire who wrote: "Jon Wozencroft's impeccable photography and design packages Rosy Parlane's Iris inside a predominantly blue package, inextricably linking the music to the emotional resonance of the color... He flushes his soundfields with cascades of digital fragments which he separates into two distinct compositional categories. On the one hand, Parlane stretches sounds from guitar, piano and organ into unrecognizable drones that swell into dense layerings, every once in a while coalescing into fluttering half-melodies. On the other, he emphasizes the textural qualities of those digital fragments, simulating the natural acoustics of ice crackling from trees in winter or the gentle patter of rain on a windowsill. When fusing these together by placing the textures against the backdrop of the drone, Parlane effectively builds pointillist sound environments with a profoundly human melancholia." With Jessamine, Rosy develops these themes, and continues to incorporate new musical elements from unconventional as well as orchestral instrumentation. To him, everything is an instrument: from household objects to nature sounds. But it is the human element which gives his work such a distinctive sound. Ranging from ambient to noise, he gives full rein to textures of living; to start, languid and mournful; later harsh and assertive. Jessamine is a magnificent follow-up to a classic Touch debut. Rosy Parlane: electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw, amplified sawblade, bowed metal, household objects, contact microphones, field recordings, radio, computer. Additional contributions by Marcel Bear, Tetuzi Akiyama, Lasse Marhaug, Anthony Guerra, Michael Morley, Donald McPherson, Matthew Hyland, David Mitchell, Stefan Neville and Campbell Kneale." [press release]
"A little over two years ago, Rosy Parlane, made his debut on Touch with 'Iris', following solo releases on Sigma, and a membership of such bands as Thela and Parmetier. Three tracks back then, and on 'Jessamine' again three tracks. Rosy plays here electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw (an instrument designed by Marcel Bear), bowed metal, household objects, field recordings, radio, computer and contact microphone, and if that isn't enough there is also help from a whole bunch of people who played guitar. The first track starts out in common territory: ambient glitch made with bowed guitars, violins, but Parlane's music is more angular. It has a sharper edge, already in this first piece. Even a bit of old Organum could be traced in these scraping and bowing sounds. It's hard to say if all the instruments mentioned on the cover are also there, but guitars are definitely there. In the loudest part, 'Part Three' things become orgasmic loud, almost in a Merzbow manner, but Parlane keeps things nicely under control. Overall, Parlane has a richer sound than on 'Iris', there is more happening and he is stepping out of the more safer microsound glitch. Quite a leap forward!" [FdW / Vital Weekly]