Bardziej przystępna odsłona eksperymentalnie zorientowanego Australijczyka z żydowskimi korzeniami związanego z Tzadik i Touch. Otwierający Audience of One Salt zaskakuje nietypowym dla Ambarchiego osobistym tonem i chóralnym zaśpiewem. 33-minutowy Knots to misternie utkana suita, którą kończy Armagedon w stylistyce krautrockowego harakiri, po którym pozostają tylko zgliszcza. Passage jest jak ukojenie po Apokalipsie – minimal-ambient, w którym pojedyncze dźwięki budują nastrój, a w tle majaczy idea Deep Listening Pauline Oliveros. Na Fractured Mirror robi się jeszcze jaśniej. Wyobraź sobie radosną wersję Micheala Giry jamującego przed sesją White Light from the Mouth of Infinity i łagodne brzmienie gitary osadzone w ambientowej przestrzeni.

On Audience of One, Oren Ambarchi presents a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. His previous solo albums for Touch exhibited a clear progression towards augmenting and embellishing his signature bass-heavy guitar tones with fragile acoustic instrumentation. Audience of One, while also existing in clear continuity with these recordings, opens the next chapter.

Remarkable in its confidence and breadth, but also in the sensuous immediacy of its details, this is the first time a single record has come close to encapsulating Ambarchi’s musical personality in its full range and singularity. The techniques and strategies developed in his refined improvisational work with Keith Rowe and his explorations of the outer limits of rock with Sunn O))) and Keiji Haino are both in evidence, alongside the meticulous attention to detail and composition of his solo works. And on the cover of Ace Frehley’s ‘Fractured Mirror’ which closes the record, Ambarchi even points to his roots as a classic rock fanatic, in an epic yet faithful version which extends the shimmering guitar patters of the original into a rich field of phas.......
więcej