phonographer and owner of the and/OAR label, was invited to have work released on
the Conv label. Thus, Amalgam was created; a collection of collaborations between
Dale Lloyd and many of his talented friends and acquaintances.

The contributed material is diverse, including sitar (played by Robert Arthur Horton),
wind chimes, found objects, electronics, turntables (Jon Tulchin), and even dry ice
(Josh Russell). Lloyd, as with his other works, uses effects and various processing
techniques highly creatively, so it's quite often difficult to tell where the sounds have
originated from. Luckily, the credits contain the names of the artists along with what
they contributed, and this sheds some light on the background and illustrates the
creative effort that has gone into Amalgam.

Due to the vast amount of contributed material and Lloyd's prolific input, Amalgam
feels somewhat monumental. There are 11 tracks, each with their own character, yet
there are overarching consistent aesthetic themes, pursued but perhaps not enforced
by Lloyd's processing and editing. The emotive range of the tracks is also broad, from
the sinister 412.1920 (produced with Sijis label co-owner, Scott Taylor), which uses
very low frequency bass and tactile percussive elements (perhaps harking back to
Lloyd's days as a drummer), to the more melancholic 412.21 (produced with Ubeboet,
another Conv contributor.)

Collaborating with artists who work with both lowercase sound and more academic
approaches adds to the feeling that Lloyd has taken the role of an alchemist on this
release. This is particularly evident as he's credited for "processing and effects" on all
tracks; he seamlessly blends contributed material with his own field recordings and
instrumentation in an ultimately engaging, yet subtle manner. Indeed, to appreciate
the intricate detail in most of these pieces you have to listen at relatively high volumes,
and the tactile affects of the sounds are only then noticeable when headphones are
used. This is not a critique however, as it makes Amalgam feel like a more personal
and immersive experience than a mere set of experiments.

Dale Lloyd's ability to combine stark and heterogeneous elements to produce
something unique and engaging is strikingly apparent in Amalgam. The artists featured
are luminaries in the lowercase and phonographic fields, making this a unique and
highly recommended collection.
 (Alex Young)
IGLOO -  microview - volume 25   (SEPTEMBER 2005)
and Darcy McNinch play on glass objects accompanying Seattle-based composer Dale
Lloyd’s sound processing on “412.1413” sounding like beach chimes in the ocean
breeze. The radio-like hiss is a warm warning. The brisk micro-scratching including
Omnid is something left-field of Raster-Noton, minus the funk, plus a certain tension.
Some of ‘Amalgam’ is custom-made for minimalism purists as parts are barely audible,
you may want to choose an outside noise-canceling set of headphones, or simply allow
some of the subtleties wash through your own personal space, combined with exteriors,
making for your own personalized improv. A standout collaboration comes when Lloyd
works with Ben Owen, incorporating wind chimes and various creaky found objects that
crunch and spin. It’s slightly menacing, yet plays at a shy distance. The two should
venture more extensively. With a softly spoken yet wired-up sensibility in tow, Jon
Tulchin brings a sense of vulnerable power electronics to the (turn)table on “412.1920”
keeping all circuits freshly open. Elsewhere the mechanical hiss of machines sounds
like the summer buzz of late-night crickets and the revving of large motors, just the
hum, mind you. With Heribert Friedl on Hackbrett (some stringed instrument?) there’s an
eerie, echoing feedback that is cavernous laying way to a passage of darkness and
peculiar pops. “Something wicked, this way comes” (for sure). The drone gurgle of
blowing through bamboo startles the senses with a bit of unrest.
(TJ Norris)
label CON-V releases a CDR, one gets amazed all over. The quality of their material is
so high, the label can already be considered among the top three labels in the world of
experimental sound. What the releases have in common is an astonishing refineness
and clearness of sound, due to a minimal approach and great production.

The label's fourth CDR, by Dale Lloyd is no exception. This Seattle-based composer
collected sound material by artists such as Robert Horton, Nathan McNinch, Omnid,
Ben Owen, Josh Russell, Stuart Dodman, Ubeboet, Scott Taylor, Heribert Friedl, K.M.
Krebs and Jon Tulchin. He processed and edited the source material, to create a rich
collection of distinctive fine-tuned sonic perspectives.

The CDR heads-off with the sound of water and the low-key tunes of a sitar, hardly to be
recognized as such. This is followed by a track in which glass plays the major part,
crystal clear and soft tingling. It's as if the darkness sets in slowly. Several tracks are
even relatively darker, like the ones with electronics by Omnid, Jon Tulchin, Ubeboet
and K.M. Krebs. Nevertheless, the music remains sparkling and detailed. Several artists
contributed field recordings, with which soft crispy atmospheres are generated. CON-V  
from Madrid again delivers an excellent output, their fourth in this series.
Conv.net Lab, Seattle's Dale Lloyd decided to collaborate with eleven sound artists
instead of working alone. Considering the seriousness of all involved parties (Robert
Horton, Nathan and Darcy McNinch, Omnid, Ben Owen, Josh Russell, Stuart Dodman,
Ubeboet, Scott Taylor, Heribert Friedl, K.M.Krebs, Jon Tulchin) the results could not
have been less than excellent. The convergence of apparently opposed worlds - drones
and microsounds, organic and processed, acoustic and electronic - seems to constitute
the basic complexion of such a deeply penetrating music; there seems to be a sort of
secretly predetermined walk through progressively immaterial states, as we move from
sounds of glass and water through clicks, hums and controlled feedback in preparation
for what expect us at the end, namely the semblance of a protracted blur of time
suspension, a framework where seemingly endless textural delights push the
compositions to the highest spheres of sonic meditation. If these men and this label
keep such a focus on the development of sound treatments, we're definitely in for hours
upon hours of important electroacoustic discoveries.
 (Massimo Ricci)
water rolls over high pitched sheets of heavily processed sitar drone. Several minutes
on and the stream’s natural song gives way to a duet performed by siblings on cut
glass, before both the light of the crystal and color of the drone are engulfed in a
dense electronic fog. These sounds comprise the first three tracks of Amalgam, but
you would hardly spot the joins, such is the artistry of American composer Dale Lloyd.
He maintains the trick throughout the album, a feat all the more commendable since
each of the 11 pieces on display are based on a contribution from a different

Lloyd’s primary role here is that of editor-in-chief, one he fulfils through processing
and the occasional electronic embellishment. It is he who shapes the raw materials
provided by each guest, be it a field recording, lap top collage or resonating wind
chime. From these building blocks Lloyd constructs his most delicate sonic
sculptures. This approach works best when the gifts bestowed are of a more organic
variety, such as the blissful haze created by Robert Horton’s strings on the opening
track, or during the subtle strumming of Heribert Friedl’s hackbrett (a variety of
hammered dulcimer). It is these entries that poke out from beneath the uniformity
(itself no bad thing!) of Amalgam’s simplicity, provoking Lloyd into raising his game.
He is more than equal to the challenge. But the majority of Lloyd’s co-creators come
from the field of electronic composition and it is with these that he engineers an
atmospheric blanket of slowly shifting, almost static, nebula clouds.

For the closest reference point think the sonic collages of Lawrence English. Lloyd’s
track in conjunction with Scott Taylor, in particular, approximates the unique sound
of explosive 44-gallon drums popping in the morning sun from English’s superb Ghost
Towns recording. Madrid’s Con-v label is gradually building a reputation as one of
the finest purveyors of sound as art. With Amalgam the imprints standing can only
(Spencer Grady)
DALE LLOYD AND VARIOUS ARTISTS - AMALGAM: In the area of field recordings,
Dale Lloyd is a well-known name. After releases on and/OAR and others, dozens of
performances all over the globe and regular contributions within the microsound net
scene, this shouldn't surprise anyone. Arriving on the Spanish high quality CD-R label
Con-v, he can now present the harvest of his activities, a collection of collaborations with
(among others) K.M. Krebs, Omnid, Heribert Friedl and Scott Taylor. As most of the
co-workers roam in the same style as Lloyd himself, the recordings stick pretty close to the
genre, nonetheless it's the most interesting aspect of the disc how diversified lowercase
already has become, as one is able to recognise clearly the several influences by the
collaborating artists. So, what came out is a brilliant oversight over recent developments
within this school of sound, compact and listenable!
DALE LLOYD AND VARIOUS ARTISTS - AMALGAM: In the world of microsound and
field recordings Dale Lloyd should not be an unknown person. His activities span from his
own label and/OAR, to phonography website and of course his own music.
On this new CDR release, 'Amalgam' Lloyd works with the sounds provided by other artists,
such as Heribert Friedl, Omnid, Josh Russell, Ben Owen and others. It's not Lloyd's task to
add any sort of sounds of his own, but more to process and edit whatever he has gotten.
The sounds he'd been given include sitar, glass, found objects and of course many field
recordings. It's hard to decipher any of these original sounds in Lloyd's delicate work (or
should that be 'world'?) of crackling and fine tuned hissing. Named after the periodic table
it's easy to draw a parallel to the world of alchemy and that it's easy to see the connection
Lloyd wishes to make: his music is like alchemy: blending various elements, in this
instance sound, and process them until something new arrives. Very much along the best
of microsounding artists like Roel Meelkop, Steve Roden or, more apparent here than in
some of Lloyd's other releases, Richard Chartier. Music to crank up your volume as a lot of
this hovers on the edge of silence, and it unfolds much of what it has to offer when played
loud(er). A good, well-made release, well produced and perhaps not the latest innovation
in microsound, but still a true beauty.
(Frans de Waard)
SEMPER: Es gibt immer wieder spannende ergebnisse im weiten feld der field
recordings.  Immer starker wird in letzter zeit die frage diskutiert, wie in zeiten der
einfachen verfugbarkeit aller moglichen klange mit der kontextlosung von aufnahmen,
gerade transkulturell, umzugehen sei. Dale Lloyd umgeht auf Semper dieses problem,
in dem er seine feldgerausche so stark manipuliert, dass ruckschlusse auf den kontext
kaum moglich sind.Bzw. er arbeitet tatsachlich mit vermeintlich unpolitischen, weil
menschenleeren gerauschen: windrauschen, donnergrollen, wasser (fur fans ubrigens
dringend empfohen: Lloyd's eigenes feldaufnahmen label / mail order and/OAR!).
(Till Kniola)
SEMPER: Thirty-three minutes and forty-four seconds of assertive and beautifully
cultivated microscopic detail and great assembling mastery;
Semper easily gets my
vote as one of the best records of 2005. Dale Lloyd, who's revealing himself as a very
talented composer in many ways (check out his recent
Amalgam on Conv.Net Lab)
brings together "field recordings, electronic sounds, toy xylophone, old coins and other
metallic and found objects" in two intoxicating soundscapes in which thunder, rain,
birds and insects fuse unconventionally with the eternal subsonics of a distant
earthquake rumble in waves whose depth is felt under the muscle tissue. One can only
imagine the painstaking process necessary to place every single attribute in the right
light, but such meticulous attention to detail pays high dividends, as the slo-mo
radiance coming out of the speakers throbs with vital resonance that's almost painful to
(Massimo Ricci)
SEMPER: Recapitulating the lowercase ethos previously established by Steve Roden
and John Hudak, Dale Lloyd manipulates delicate textural events and subtle field
recordings for a poetic sensibility that privileges passages of silence and a Zen-like
attentiveness to sounds which might otherwise go unnoticed. This album is less of a
cohesive body of work, more of a series of loosely related sketches that emerge from
Lloyd's refined use of empty space. He runs everything through a variety of DSP
techniques, resulting in plasticity countering the organic sounds of birds, insects, and
closely observed gestures from old coins and other metallic found objects. The
crackling ether from controlled feedback also grafts itself onto those natural elements,
further distancing them from their original context. In all of their poetic restraint and
well executed detail, the sounds of
Semper beg for a larger narrative context to be fully
(Jim Haynes)
VITAL WEEKLY  #473  (MAY 2005)
SEMPER: In the world of field recordings, and the music made thereof, the name
Dale Lloyd should not be unknown, even when he so far released his work on MP3
and CDRs. This is I believe his first 'real' CD. It consists of the lengthy title piece and
the shorter 'Magnesian Recumbit'. The sound sources listed as the usual 'field
recordings, electronic sounds, toy xylophone, old coins and other metallic and found
objects'. It's hard to trace back the origin of the field recordings, save for some of the
water and insect sounds, but most of the times, the computer is working overtime to
process all the sounds into a nice ambient glitch mass. Densely layered with the
microphone quite close to the objects (a trick of trade Lloyd shares with people like
Yannick Dauby or MNortham). The combination of the sometimes warm, natural
sounds and the somewhat colder electronic sounds work in quite a nice way. 'Semper'
is divided in smaller parts, each with it's distinct, own character. 'Magnesian
Recumbit' is more of a drone piece, with loops and layers of the metallic objects,
working in a trance-like way. The two pieces have a rather pastoral feel to them, and
sound quite solemn. Two great works, pity the CD is rather short at that.
(Frans de Waard)
TURBA / LATERAL MINOR: More and more I am finding online releases that are
definitely worth the time it takes to download them. Dale Lloyd’s “lateral minor” and
“turba” series release on the consistently excellent three-year-old weblabel http://www.
stasisfield.com which is one of the most intriguing works that I had the pleasure to
come across in 2004.

Listening at different volumes and under various conditions will change any work but
with Dale Lloyd’s sounds, like Bernhard Günter’s, it seems the question of listening
conditions is central to the realization of the aesthetic intent. The material of both
artists requires one to prepare for and commit to listening uninterruptedly for the
duration of the work. Otherwise there simply isn’t any point. What are the correct
circumstances for allowing the full intent of artist to be perceived? After some thinking
on this issue I decided that in order to get the full frequency range of the composition
the playback system must be set so that lowest frequencies can be perceived.

With “lateral minor” Lloyd gives up a good piece to test the listening level as it starts
out with a low frequency drone. After turning up the volume so I could hear all the
details in the low-end some high-end frequencies came piercing through making it
easy to decide not to go any louder. That set, I then stopped the music, took a break,
closed the windows, unplugged the fridge, turned off the heater and settled in to
listening at the optimized volume uninterrupted for the duration of the works, twice.

The headphone listen revealed a rich stereo field teaming with activity while the
studio monitor listen brought out the organic physicality of the sounds. His craft is
refined, a product of pursuing his sound aesthetic for over 10 years. It’s clear a sensitive
ear put the sounds together. Even the smallest of nuances arrives weighted by
intention. It seems he uses field recordings not as sound objects themselves but more
as a set of variables to extract a new world from, to be mined for their transformable /
interpretable qualities. A good example of this alchemic interpretation of sounds is the
last 90 seconds or so on “lateral minor” which ends with a haunting musical drone
molded out of various contact microphone recordings of a glass elevator. I only know
that because I asked. The pacing keeps things flowing with “movements” of between
two and 4 minutes throughout. The hyper-synthetic sounds work are imbued with a
certain “presence” that feels (yes “feels” not “sounds”) natural. An impressive aspect of
the work is how convincing the inner logic of Lloyd’s sonic phenomena is. The audio’s
patterns and pacing implicitly make sense. Although the sounds are varied they clearly
inhabit the same world and seem to intuitively obey complex interaction parameters.

I asked Dale Lloyd about his aesthetic to which he  replied, “I tend to mostly be drawn
to working and creating sounds that either remind me of naturally occurring sonic
phenomena which can be found somewhere in nature/science, or that sonically
remind me of processes, movements, patterns, activities, etc. that one might find when
exploring nature/science.”  Of course!  
(Josh Russell)
TURBA / LATERAL MINOR: Dale Lloyd's Turba / Lateral Minor is characteristic of
the netlabel that released it, and just to be clear: that's a compliment. Like many a
Stasisfield Records free download, Lloyd's recording not only keeps quiet noises in the
foreground by lending them interesting surface textures and by occasionally engaging
in piercing sounds and rapt silences, he also wraps those lovely ruptures around a tidy
conceit. In this case, that means listening in two ways. First there's "Lateral Minor," a
12-minute piece that floats a variety of sonic abrasives above a throaty, base-level
hum, broken up by the odd splice of vacuum space. Then there's "Turba," which is five
distinct tracks, all under under six minutes, all with a unique subtitle ("circumstantial,"
"evolutional," "remedial," "imitable" and "congenital"), each built, like "Lateral," from
a mix of environmental and electronic sounds. Reportedly each "Turba" track works a
different magic on a similar set of source material, not that you'd necessarily surmise
that from the results. Guess you'll have to listen again, and again.
(Marc Weidenbaum)
AIONIOS THE FUNDAMENT: Preserving the essence and the spirit of his field
recordings, Lloyd showers our ears with elemental beauties, incorporating concrete
sounds and expert processing in five austere, almost sacral assemblages. Ominous
landscapes, made wet by sapient dissolvences, alternate with hisses and crackles
seemingly out of some extraterrestrial backdrop, while darkness and light find their
correspondence in a mutual respect. Time fathoms our chaotic life disposition,
disregarding our imperfections to fog our nerves in a gauzy perceptivity: this is a vast
and involving sound world, where changes and mutations occur very slowly. We're
given all the necessary tools to adapt to this well developed set of spectral
 (Massimo Ricci)
AIONIOS THE FUNDAMENT: For those of you unfamilar with the work of Dale
Lloyd, let me take this review as on opportunity to introduce you to a wonderful artist.
For the past three years, as owner of the and/OAR label, Lloyd has led a burgeoning
community of interesting environmental and field recording artists. I suspect to be
hearing and thus writing a lot about and/OAR artists for future editions of
Wind And
. But first I turn to Lloyd's latest - a non-and/OAR release from Daniel Crokaert's
wonderfully sublime Mystery Sea label -
Aionios The Fundament.

What is most fascinating about
Aionios The Fundament is the way that each track
expands sonically - that is, with little repetition - from one into the next. This is a work
of very subtle detail that promises discovery with each listen. Beginning with the soft
stuttering cadence and water-through-the-barrel hum of "Saline Crystals Born of Mother
Solutions," Lloyd, in effect, splashes a blank canvas with clear, watery and whispery
alchemical mixture. This is indeed the "birth" of Lloyd's fundament - the barest
structural details - from which this "aionic" embryo will grow. As the watery echo of
swirls come closer into the field, the track ends and, sure enough, track two, "Adamite
Effluvia," takes on a kind of maturation from its predecessor - that is to say, it gains a
thicker layer of pulsing flesh.

It is remarkable that this recording was constructed entirely from field recordings
obtained primarily from sound sculptor extraordinaire, K.M. Krebs. Lloyd's mixing
of different sounds and his subtle volume adjustments create a truly rich and absorbing
listening experience. "Adamite Effluvia" is a clear example of how Lloyd's creative use
of panning in the recording process can utterly build on a sound's overall aesthetic - in
this case, a slow and circular tumbling of cans bathed in a static effervescence that
provides surprise with its sudden and
abrupt ending.

It is difficult to find a clear reference point when considering
Aionios The Fundament.
On the one hand, it exhibits all the wonderful mysteriousness of a master such as
Asmus Tietchens or the provocative and multi-layered soundings of newer artists like
Wilt or Heath Yonaites, but Lloyd is more inclined to a slower, more patient unfolding
of sounds than most experimentalists. Tracks 3 and 4 explore the corporeality of air
and liquid respectively. Once again, Lloyd demonstrates his fascination with sounds at
the audio interstices of white noise and ambience. Both tracks extend into open drone
canvases - track 4, "A Degree Less Corporeal Than Water," surges with even louder
washes of breathy, shimmering rapids than its airy predecessor. Underscoring the flow
of water, we hear additional layers of sporadic pops and pulses, as if hydrogen atoms
are on the very cusp of becoming at liquid-one with lingering oxygen that is just out of
reach. When we are finally taken into the actuality of the sea on "This Sea, Our
Lodestone," the once embryonic mixture of saline crystals that began
Aionios The
is now a heavily reverberating curtain of thunderous drones.
Highly recommended.
 (Ben Fleury-Steiner)
AIONIOS THE FUNDAMENT: Phonographer Dale Lloyd (one of the Union Of
Seattle, and compiler of the Phonography compilations) composes Aionios The
Fundament (MS12). The first track (Saline Crystals Born Of Mother Solutions) -- is
almost half the whole disc -- opens with water ventish, with a deep pulsing bass (which
is a feature throughout), lapping and rolling, voicey and organic, shifting to hissing
rainy shimmers, rattling with under-organ, stutters to pulsing as a drone gathers, rains
and hisses in. The next track shifts from a whistly high scraping-scream voice, into a
vinyl-loop crackle with a hint of voice; the whole being quite ethereal. Oceanic is the
ebb and flow of A Degree More Corporeal Than Air, layering a flowing scrape-whistle,
and slowly decaying glitter-cycle over a very deep rumble that sounds like a mic in the
wind, with the hiss more left and the rumble, a right-channel response, into a dense
washing (is it a wave or a train?) with the rumble and then a jiggery skitter.

Finally, the majestic beauty of This Sea, Our Lodestone, high ringing tones, often
voicey, over deep bass, vents to a long and vibrous ending. A lovely album.
(Jeremy Keens)
IGLOO  (MAY 2004)
AIONIOS THE FUNDAMENT:   * * * *  Dale Lloyd's field recordings for "Aionios The
Fundament" have an instant density in layers of unfiltered, hollow, organic chambers.
With the radiance of mercury swimming through an endless pipe, and cover art that
projects the shadowy depths of the murky unknown, Lloyd is reaching deep into his
psyche to offer something not unlike a pearl in his very own shell. Poetically dissonant,
"Saline Crystals Born Of Mother Solutions" rustles and streams, croons and gurgles.
Lloyd is more a choreographer of the elements than a straight shot musician, which
makes this seem like an outsider's perspective - one akin to a geologist perhaps. This
recording reminds me of some live work I have seen by fellow field recording artist
Seth Nehil. Over five tracks and 48 minutes, Lloyd takes us to atomic places formerly
hinted at by Wolfgang Voight and Carsten Nicolai. His sublime rendtion of "Adamite
Effluvia" is a daydream inducing headtrip. Sound as satellite. "Aionios The
Fundament" creates a sensual meditation, cleansing your mind, eradicating the
incidental; drenching it, quenching it.
(TJ Norris)
VITAL WEEKLY  #412  (2004)
AIONIOS THE FUNDAMENT: Dale Lloyd shouldn't be too unknown by now. He has
various releases out, mostly on CDR, but also as MP3 on the internet; and his interest
lies mostly in using field recordings. On the ever so nice Mystery Sea label he has a
release with five tracks using treated field recordings from 2002-2003. Upon hearing
this music, it's hard to tell what the nature of these recordings are, as Lloyd gives them
a lot of sound treatment. All of the sounds are treated beyond recognition and warped
up, they form a mystery of their own. Lloyd keeps clearly in mind for which label he is
working, as the whole thing sounds very much in spirit of the previous ambient related
works on Mystery Sea. My best guess is that Lloyd treats a lot of different water
recordings, from rain to the kettle boiling and beyond. Five pieces of carefully treated
stuff that bares a lot of tension underneath (such as the wind-like sounds in "A Degree
Less Corporeal Than Water" which is like a big storm coming), which makes this into a
very powerful and one of the best Mystery Sea and Dale Lloyd releases so far.
(Frans de Waard)
ELEMENTAL DIALOGUE: Five new releases on Italy's S'agita Records, who seem to
have chosen a new direction in cover design. All of them have similar shapes and do
not look as handmade as before. The only non-Italian in this new lot of releases is Dale
Lloyd, who is known for his and/OAR label as well as the nice Phonography
compilations. For his release he uses recordings from fire, air / wind, earth, coal, and
glass to electricity and electromagnetic fields. In the nine pieces Lloyd is mainly busy
on the lower side of audibility: very soft sounds, sometimes surprisingly unprocessed,
but in collage form. It's a bit like the Luca Bergero (fhievel) work, but in the Lloyd
release the field recordings remain the number one sound source and at times
recognizable. A strong work of field recordings.
(Frans de Waard)
EMINUS: HYMNS FROM THE HORIZON: This disc starts with a beautiful track - it
sounds like the deepest ocean or an aurora borealis. Many tracks on here have bass
notes that seem like deep rolling thunder across a never ending plain with the ever so
slightest hints of other harmonic frequencies. Pure listening pleasure. This is delicate
music, one dog barking outside would forever change the actual recording on the CD.
Sometimes I wish I could see wind - all you can see is its effects but you never get to
actually see it by itself. But this CD is what wind sounds like. I want to get 10
subwoofers all around my house and attempt to destroy the foundation by playing this
disc at top volume.  
(Don Poe)
ReR   (NOVEMBER 2003)
indecipherable sounds. Atmospheres, serious low frequencies. Quietly fascinating.
(Chris Cutler)
EMINUS: HYMNS FROM THE HORIZON: Sound artist and phonographer Dale
Lloyd released this recording on his own and/OAR label last year. He's had a few
releases since then, so admittedly, I'm a little late in getting to this one. Growing out of
a fascination with distant and indecipherable sounds, the pieces collected here carry
both the stillness and broad trajectory of gazing out at the horizon, capturing its
essence and amplifying its resonance. These compositions were created using field
recordings and voices, but also recordings of metal and wood objects performed by
Jon Tulchin and Isaac Sterling. The compositions are accompanied by six short tracks
of silence, ranging from 10 to 55 seconds and peppered throughout the track list,
meant to extend the experience of listening, "to extend the spatial field of track
occurences," or more simply, to give the listener pause at certain moments to reflect
on the sounds contained herein. And, it should be said, this method works well.
Whether listening to the disc in continuous playback or in shuffle mode (as the notes
suggest), the overall impression is that I am listening to one long piece, with pauses,
silences, spaces in between events. When you look out on the horizon, maybe you are
greeted by the apparent silences of things, surprised by the stillness, then you might
hear something in the distance, a ship on the sea, the waves, the wind through the
branches, low frequencies combining in subtle turns, the sounds of which funnel
through your ears and  cause vibrations that you can still feel, even now, as days,
months, years, have passed since you heard those sounds, still alive in your memory,
still resounding from the distance.
(Richard di Santo)
VULCAN AUGMENTED: Dale Lloyd's "Vulcan Augmented" is another cdr that I
enjoyed listening. It was the first to listen to when I came back from my holidays and
after having spent 2 weeks on the mountains of continental Greece, I loved the idea of
a cdr that brought in mind some of the most bizarre and obscure moments I lived there
(a feeling I was given also from the RSundin cdr). Dale uses field recordings,
electronic, and metallic sound sources to craft a really dense atmosphere, often can
be labeled as "ambient" or "electroacoustic" but on one hand is lovely enough and on
the other it was my second encounter with his work, the first being "Like Ulysses" on
Staalplaat's Open Circuit Series and I must admit that I was flattered from the progress
Dale has achieved since that work (which was really dense and bizarre but was giving
me the feeling that there was something missing from its atmosphere). I guess if you
are wondering which work of his to use as a starting point, then it be this one.  
(Nicolas Malevitsis)
ReR   (NOVEMBER 2003)
VULCAN AUGMENTED: A low key but subtle CD made, it says, from field recordings
(I'm guessing and hearing, including volcanoes - hence the title - and a lot of weather
and wildlife), electronic and metallic sources. Unfortunately, that's all it says; more
information would have been worth having. The sound and pacing makes you want to
know more. A successful and very atmospheric work that never loses its grip on the
material or the ear.
 (Chris Cutler)
VARIOUS ARTISTS - UNTITLED SONGS: Subtitled "49 years from Gesang der
Jünglinge (2005-1956)" this double CD represents a comprehensive view on today's
non-academic electroacoustic music, explicated through "songs" - which may or may
not include vocal sound - by some of the most intelligent composers working from the
outside into the very depths of our perceptive systems. All the conventional rules of
sound placement get graciously massacred to let new spirits fly out of their ruins; we
get pleasantly lost amidst the probabilities of sonic gibberish changing nature
dramatically to become modified pellucid figures in a grey area of unsubstantial
indelibility. It almost seems that the brain wants to disobey the ears, choosing to
remain in a state of disoriented revolution while trying to decode the continuous
quibbling coming from these charming configurations. The authors' notes for every
piece can be downloaded from the Sirr website; my personal preferences, if this makes
some sense in such a pantheon of good artists, go to Andre Gonçalves, Jgrzinich,
Heitor Alvelos and Marc Behrens on the first (and best) - disc, and to Dale Lloyd, Derek
Holzer and James Eck Rippie on the second. But it's the general level of the whole set
that leans towards an undifferentiated excellence.
(Massimo Ricci)
This is a beautiful, mesmerizing, highly poetic album. The Phonographers Union --
in this incarnation -- consists of nine artists from the West coast community of field
recordists and phonographers. The best-known names here are Christopher Delaurenti
(his electroacoustic works), Marcos Fernandes (his label Accretions), and Dale Lloyd
(phonography.org, and his genre-defining compilations).

On April 12, 2003, the nine artists were gathered around a few tables in a Seattle
studio and asked to perform two half-hour long pieces for a radio broadcast. Each
musician is armed with either a CD player, minidisc, sampler, or other playback
devices, and banks of field recordings covering all aspects of nature and human life --
from wind to children, machines to birds, busy streets to water, sports to music.

WIth an acute sense of listening, the artists are combining their recordings (not mere
sounds but chunks of space, as the microphone picks up more than just birdsong or a
creaking floor), creating a gripping aural symphony where the listener is left free of
linking sounds together or imagining scenes that would accomodate all the sounds
heard at one particular moment. More free-form and easy-flowing than musique
concrete, much more concrete than experimental electronica, this music speaks to the
mind and the soul, as some of these sounds are very familiar, but their combinations
evoke surreal situations. Since there are too many details, too many events to possibly
absorb and remember everything in one sitting, each listen provides a different
experience. And even people usually closed to avant-garde music will be able to
sense the poetry and the immediacy of this album. Highly recommended as a key
statement in the development of "field recording" or "phonography" as a form of sound
 (Francois Couture)
VARIOUS ARTISTS - LOWERCASE SOUND 2002: (excerpt)  ...In contrast to
such stark modernism, the notes accompanying Dale Lloyd's "Fleeting Recollections of
the Snow Plain" ("finally we put aside the distractions and glance out into the frozen
landscape and meditate on the beauty of nature") inscribe themselves solidly in a
tradition dating back to Thoreau and Emerson, and also recall Ives' famous
commentary on the final movement of his Second String Quartet.
(Dan Warburton)
ENABLING ARTICULATE FIELDS: Dale Lloyd runs the and/OAR label and
releases compilations for Phonography.org. His work is from the realm of field
recordings. The basis for these 5 short tracks are sounds recorded in his apartment,
mainly the sound of air trying to force its way through his front door one particularly
windy night while opening another window to adjust the air pressure within the
apartment. Having experienced this phenomena on several occasions I can attest to
the interesting sounds that can occur, from door slams to the squeal of a pressure
cooker. Lloyd processes these sounds and for the most part they are no longer
recognizable. Faint shimmerings, crackles, and whispers are the results of heavy audio
filtering to which Lloyd adds some embellishments from his Moog Concertmate
MG-100 analog synthesizer. What remains are the sensations that the original sounds
can conjure. At times this reminds me of the Swedish project Dead Letters, with the
quiet goings on of organic matter rendered into strange mechanic operations. A
fascinating listen.
(Jeff Surak)
ALTMUSIC.ORG   (ISSUE 28  /  2004)
SEMPER: Co-released with Alluvial, Semper's two recombinant environmental
recordings are specimens of Dale Lloyd's fealty to the art of phonography as an act of
both documentary preservation and mimetic creation. The title composition, a daisy
chain of discrete vignettes, arrives wrapped in sandpaper-and-rice textures soon
shuffling the listener into habitats humid, convulsive and weather-stained. Semper's
atmospheres retain traces of this same gusty front throughout the life of the piece,
drenching its landscapes in moods reminiscent of Lloyd-collaborators like Kim Cascone
and Francisco Lopez in hue and timescale. Dynamic controls and a gift for tone and
color are Lloyd's strengths, but even at 33 minutes the muted, clustered frequencies
and affected gravities wear thin, winded beneath the weight of too much dawn-or-dusk
syncretism, too many mechanical commas to support its duration. Taken as a
compendium of grey days and unpopulated prairies, it remains a well-made and
engaging listen that, nevertheless, leaves one positively aching for the occasional
sunnier clime.
 (William S. Fields)
GA-ZETA  #40  (FEBRUARY 2005 )
SEMPER: Environmental recording artist Dale Lloyd knows the true meaning of a field
recording. His latest release "Semper" sees him quietly reinventing his micro-tonal
approach. In reality, this brief [33 minutes] work is about the delicate detail of the
sound, rather than the abstract sound itself. Lloyd forces the listener to pay close
attention to every minute click, every minute field recording he has assembled here. By
using various sounds [electronic] and those that are found in the natural world [old
coins, xylophone and various found objects], he surrounds our world with an
all-encompassing aural experience. Without a hint of a doubt, "Semper" is music that
pulls you in with a magnetic force.  
(Tom Sekowski)
TOY.BIZARRE & DALE LLOYD: There are undersung albums that just need to be
hyped around, and rightly so. This is one of them: two splendid compositions,
masterfully assembled by a pair of lead players in the game of electronically treated
field recordings, demonstrate how an evolved sound artist can transform simple sources
into mayflowers and nightglows. Toy.Bizarre's "Well, wind, wood, night, plane" has a
self-explanatory title and, according to its author, should be enjoyed only on
headphones. Being this reviewer a little disobedient, I tried both settings and actually
preferred the speakers, even if the suggested method is more useful for revealing the
undercurrent activities characterizing the piece. Everything you hear was recorded in
Pommier, France and is told to be highly evocative for the composer; indeed, the
particular resonance of the well redeems "normal" sounds, modifying their essence
until everything spirals into constant implausibility, eliciting aural shades of the finest
blend. Metallic gurgles, disguised birds and a fabulous aeroplane are meshed in an
undescribable memento of something that we have surely experienced but can't
recollect in any way. One feels trapped in a giant drainpipe but at the same time
perfectly willing to remain there and accept any consequence. Dale Lloyd's "From
dayspring to eventide: within the green half-light" is a finely delicate mixture of
environmental sounds and electronics, whose efficiency and exquisite coherence is
typical of this composer. Contrarily to Toy.Bizarre's track, we're in presence of
something that affects our momentary existence more subliminally, tiny harmonics,
insects and gradual crepuscular views inching forward to find the right framework in our
mind to be fixed in and remain as a permanent, indelible memory, even if those
circumstances will never be replicated. A silent intensity unfolds slowly, then
disappears only to be replaced by murmuring waters and a general sense of
rarefaction. Both sides of this precious coin shine of their respective radiance, and
expressing a preference would be foolishly useless. An absolute must.
(Massimo Ricci)
VARIOUS ARTISTS - ON ISOLATION: The concept of isolation has always had
great importance in the music of the last 30 years, to the point that one of the many
sub-genres born from the fertile mind of reviewers is the much used, but never fully
explained "isolationism". In this particular instance, the tracks were commissioned "to
interpret senses of disconnection, isolation and solitude", common feelings in a world
that recognizes sensibilities and talents as something to shroud, or fight against, rather
than encourage. Fifteen artists working in the contiguous areas of contemporary
electronica, installation and field recordings propose their individual rendering of the
main notion, building worlds that may last few minutes yet let us have a peep at the
fascinating possibilities that solitude brings in terms of sonic development. Without
recurring to phantasmagoric efforts, the participants contribute to many seriously
pleasing moments of detachment from the substantial failures and heavy frustrations of
everyday's life, either by opening new spaces and dimensions (Richard Chartier, Ben
Owen) or having us self-analyze our harmonic being (David Toop, Janek Schaefer)
through a balanced use of actual instruments and environmental manifestations.
Evocative resonances are contained by Stephan Roux's "Guet-Apens", a perfect
example of modern ambient music which also happens to be an aesthetic high of the
disc, while Richard Francis and Nest transform guitars and computers into a wall of
claustrophobic noise in "The wine cellar". And if we're ever assured about the great
quality of Steinbrüchel's layerings - his "Mono" being no exception - I'm once again
willing to single out the compositional endowment of Dale Lloyd, whose "Among the
many" first hypnotizes through repetitive structures, then surprises with a sudden
transition to more concrete mechanical sounds. Another brilliant piece of work in a
high-level compilation you don't want to miss.
 (Massimo Ricci)
TOKAFI   (APRIL  2007)
TOY.BIZARRE & DALE LLOYD:  More than just pointing the microphone
somewhere: Personal and private perspectives.

It has become a universally acknowledged and accepted fact that field recordings and
drones go together like brother and sister. In my opinion this has to do with the fact that
the combination possibly mirrors the world we live in more plastically than any other,
thanks to its unification of the technological and the organical. And yet it would not
suffice simply placing Cedric Peyronnet and Dale Lloyd in this corner, bunching them
together with myriads of artists who merely use field recordings as an additional
element to deepen their ambiances. Rather, they regard the aural capacities of
specific places as the clay with which to make their emotional perceptions tangible
and to communicate them to others. As this album shows, the result is always more
than just randomly pointing the microphone somewhere.

Which makes sense if you really think about it. After all, as long as you can not actually
see the space which is to be described, field recordings will only be able to conjure up
images from inside you own imagination. Their power may lie in digging up images
you never knew you carried around with you, but which naturally bear no real
connection to the taped events. When Peyronnet (the man behind toy.bizarre) uses the
noises of a well, of wind, wood, insects and birds from his parents’ village and home on
his twenty minute long contribution, he does not want the listener to experience these
from scratch, but to put themselves in his place and feel their way through his personal
and private perspective. He is not an objective spectator, quite on the contrary, he
willfully rearranges the different parts to arrive at the picture in his head, without caring
whether or not they match reality or not. On the other hand, his method naturally relies
on the certainty that this so-called reality does not exist at all. If every sensation is
merely a stimulation of neuro-receptors in the brain, then this brooding, menacing,
convulsing, clustering mass, which leaps from a howling thundercloud into a picture of
majestic quietude, is just as real: You lie in your sleeping bag under a clear black sky,
your hand clasps a bottle of red whine and your gaze roams the stars, as the sounds of
the surrounding wood engulf you. Dale Lloyd, too, has entered the forest for “From
Dayspring to Eventide: Within the Green Half-Light”, a composition which equally relies
on environmental recordings, but glides by much more subtly, vaporously and almost
elph-like. It is the little miracles and wonders of nature Lloyd is after, the majesty of the
minuscule details, the moments when your spiritual center is on the same wavelength
as the glowing treetops ahead of you. Finely woven crackles as if from burning glass
melt with two layers of irredescent harmonic breaths and the subliminal bubbling of
water at the gate and after you’ve entered, nothing remains but the whispers of all those
tiny creatures lurking at you from behind their veil of darkness. And yet, this music is
warm and friendly, never creepy or frightening.

Lloyd’s work seems less constructed than Peyronnet’s, but that it is not only an illusion
brought forth by conscious decisions on the part of the creators, but also a totally
irrelevant parameter: It is not the degree to which these tracks have been reworked,
manipulated or moulded into something different within the confinements of the studio
environment, but the degree to which they approximate the emotive landscape that
caused their genesis in the first place. The result is instantly understandable and quite
unacademic: An album which has all the potential of becoming a dear friend.
(Tobias Fischer)

- Tanner Menard  (Febuary 2009)
Interview: Read interview

- JazzoSphere  (August 2008)
Interview: Read interview in English

- Tokafi  (July 2008)
An interview with a format consisting of a standard selection of questions. Read article

- Seattle Times (September 30, 2007)
An article about "phonography / field recording" featuring brief interviews with members of the
Seattle Phonographers Union.  
Read article

- Lost Transmissions From Planet Zero - issue 1  (Autumn 2006)
Interview and track featured on a sampler disc. Read interview

- E / I Magazine (Winter / Spring 2006)
A label profile for and/OAR including reviews of several releases. Read an excerpt

- Guest Host For Vermilion Sounds (Resonance FM)
DL was invited by Peter Cusack to produce and host an hour long radio program which was
broadcast on May 6th, 2005 at 8.30pm (UK time). The program was also streamed via the internet.

- Earshot  #4  (2004)  Journal of the UK & Ireland Soundscape Community
"Phonography: A Brief History of Framework and Phonography.org" by Patrick McGinley, Marcelo
Radulovich and Dale Lloyd.

- Fear Drop  #10  (2003)
Article about and/OAR and Phonography.org compilations. Read article

- Cisza  #2  (2003)
Interview and article regarding Phonography.org and its compilations.  

- Quiet Please - KFJC (2002)
San Francisco, California Radio Interview conducted by Aaron Ximm (aka Quiet American).
E / I  (NOVEMBER 2004)
electro-stalactites that glimmer amidst pulses of hiss, flutter, and bubble, Elevator Bath
here acknowledge their ten years of existence and, without dabbling in the quixotic,
gather together traces of what is still yet to come.
Cleansing Ascension amounts to
nothing less than a constant bath of sounds, lights, images, and movements from the
likes of Matt Shoemaker, Keith Berry, Jim Haynes, Rick Reed, Dale Lloyd and Adam
Pacione, to name a few.  The artists on hand summon a wide breath of events that
travel in material waves and which build to substantial proportions such that listener's
may float on them like straws.  The vast majority of tracks are previously unreleased
and a good many click, spit, gurgle, and growl with subterranean menace.  "Warning
Ataraxia", from the aforementioned Shoemaker, knows moments of ever-heightening
subterfuge, as sheets of high end debris grow more caustic and ride out on a crest of
propulsive electricity.  Others never entirely outstrip this basic setting, but they
effectively take it up in different ways.  "Untitled 149", from Francisco Lopez, drips and
reverberates like a cavern deep beneath the surface of a distant planet, while Dale
Lloyd's contribution features a rich, sumptuous drone that is wreathed in swooping high
frequency susurrations, and which becomes ever-more frazzled for having been so
rudely disturbed from its sedimental slumber.  Although dystopian drones are generally
the rule, warm, floating chords and temperate half-melodies, such as those that
shadow Tom Recchion's "Drift Tube", appear at crucial points throughout the work so
as to illuminate the stereo spectrum.  The proceedings thus remain clearly in focus
even while being highly vulnerable and challenging.
(Max Schaefer)
AKASHA_FOR RECORD: Strange that we haven't posted anything about Dale
Lloyd in previous lists, but this is a man whose influence should be well known
throughout the experimental and sound-art communities. Lloyd runs the and/OAR
label, which specializes in environmental soundscaping with a few subsidies that push
toward an electronic-pop context. Even so, the last full album from Mr. Lloyd emerged
well over five years ago. This album continues in Elevator Bath's very impressive series
of picture discs, which began in 2008 with releases of corroded drones from our own
Jim Haynes and kosmiche brainmelting from Rick Reed. Lloyd's work is an excellent
companion to these two releases. One of the two sides opens with a modulating hiss
that harmonizes with a sinewy drone and gets punctured by a series of bone-numbing
electrical charges for something that could have some unsavory context had it been
generated by John Duncan, but then again it could be a field recording of a grain-slew
with minor post-production techniques. In fact, each of the pieces on Akasha For
Record have this sense that they could be the results of well-situated field recordings
like those of Tarab or Eric La Casa, as the smudges and grittiness of these recordings
allude to such strategies. Another track shimmers like the vibration of a loose piece of
metal on an industrial HVAC, with the timbres generating a surprisingly fluid and
beautiful resonance like something Andrew Chalk would actively seek out. There's
greater evidence of field recordings on the tracks that do feature the roar of surf and a
cold wind intermingled with the softened white noise of sand getting pushed around.
Lloyd had devised this album to complement the crackles that get magnified through
the picture disc - a medium which notoriously wears heavier than most pressings of
vinyl. The album certainly works well with its medium. Beautiful stuff, and super limited
to 216 copies.
AKASHA_FOR RECORD: Even before hearing them, these latest releases from
Elevator Bath make a powerful impression, arriving as they do in a picture disc format
and thick, twelve-inch vinyl slabs. Issued in an edition of 216, the Dale Lloyd album
displays two lightly-manipulated photographic images by the artist, while Adam
Pacione's release (Dobranoc), available in 268 copies, features two
macro-photographic images taken around 1995. Watching the colours swirl into
abstract patterns as the artists' material fills the room makes for a powerful and
transporting experience.

Seattle, Washington-based Lloyd, who has recorded for numerous labels including
and/OAR, Alluvial Recordings, Mystery Sea, and Room40, brings his first new release in
three years to the Elevator Bath imprint. A single composition split into two parts, the
thirty-nine-minute Akasha_for Record unfolds via softly glimmering organ tones and
percussive micro-detail, and then blossoms into drifting masses of twilight tones and
speckled noise textures. The first part shimmers serenely until its close, in contrast to
the bass-heavy whorls of noise-laden thrum which introduce part two. That opening
episode comes to an abrupt close that clears the slate for a reverberant exercise in
hollowed-out, crystalline shudder. Interestingly, Akasha_for Record is more episodic
than Dobranoc, despite the fact that Lloyd's release is a single, two-part piece whereas
Pacione's more uniform material is, on paper, indexed as five separate pieces. It's also
worth noting that Lloyd's embrace of the vinyl format even extends to the inevitable
erosion that develops over time; rather than seeing that as a negative element, he
instead sees the gradual accumulation of dust, pops, and crackles as textural details
that contribute positively to the work's content, with each vinyl slab gradually
developing into a unique variation on the shared theme.
AKASHA_FOR RECORD: This is the first album to emerge from Dale Lloyd in a
number of years. If his intentions were to build anticipation amongst the dedicated
drone nuts then subsequently unleash a masterpiece, I would say he has succeeded.
Akasha For Record may just be his masterpiece, evident in the punctuated transitions
between vast expanses of grainy ambience and segments of well situated field
recordings. The record almost feels like a compilation of well respected drone artists,
because of the variations in sound, though at the same time remaining very cohesive.
Lovely image, and likewise, lovely sounds.
AKASHA_FOR RECORD: After releasing music by a number of intriguing artists on
his own and/OAR imprint, Dale Lloyd comes back as a composer with this limited
edition on picture disc, and he does it with a vengeance. Hard as one tries, classifying
this work is awfully problematical. Maybe these sounds were born to stimulate the less
comforting sensations residing in our head and pierce a deceptive idea of protection
through an uninterrupted generation of disbelief. These uncertainties involve both the
utilized sources and ourselves, observed in the cosmically irrelevant role of
discreditable entities that should remain speechless for ages before even trying to utter
a word about what the awareness of a pure phenomenon really means.

In essence, Akasha_For Record is a series of sonic pictures whose incidence on the
close environment’s resonance is sinisterly effective, and the equivalent can be told of
its psychological consequence. Lloyd focuses on a restricted quantity of constituents to
develop soundscapes that amplify the need of personal seclusion. The responsive
listeners are going to face perplexing echoes and concrete-yet-mysterious compounds
that may sound recognizable for a moment. Still, when they’ll try to detect the exact
cause of an illusory fulfillment (or, more properly, of the subsequent distress), regret will
be awaiting behind the corner. The nearly indistinguishable features of several of these
infected vistas – halfway through metropolitan undertones and Thomas Köner’s
exploration of forlornness – materialize for a while; afterwards, they either vanish
completely or morph into some sort of ill-fated, unhealthy luminescence. A mere
figment of the imagination, symbolizing the unfeasibility of determining what is the
specific factor that, at the same juncture, cuddles solitude and scares like an
ominously silent threat.

The contriver writes that the vinyl constitutes a primary component in the procedure,
accumulating “dust, pops, crackles etcetera over time”. My copy doesn’t seem to
cooperate in that sense, except perhaps for the incomparable needle-in-groove low
rustle at the beginning and end of each side. But what I’m convinced of is that we are
indeed dust, an insignificant graffiti waiting to be sandblasted off the existence's wall
by the pressure of unconcern. This splendid album is a perfect reminder of the man’s
miserable condition of deluded omadhaun, and an anticipation of the kind of acoustic
intuition that will probably be met when, at long last, the process of human failure on
this planet has reached its ultimate stage.
(Massimo Ricci)
AKASHA_FOR RECORD: One of 4 beautiful picture discs released by Elevator
Bath Dale Lloyd's Akasha_For Record is a striking, insular piece littered with sonic
debris. Lloyd, who also runs the and/OAR label is an accomplished sonic architect in
his own right, something which is certainly evident here. Very much an album of two
halves Lloyd here shows two distinct sides to his compositional nature. Side one is a
lush and fecund panorama of opaque crystalline tones slowly angling themselves to
best display their many facets. Side two is a more overtly strident experience, one filled
with hissing dissonance, nebulous drones and jarring tonal changes. The two sides
compliment each other perfectly with a coherence of vision and sound that is often
neglected. A_FR is a fairly uncompromising listen that rewards close and deliberate
listening that will reveal hidden depths (particularly on side two) and immerse you in a
deeper and more profound listening experience than is often, unfortunately, the case.
(Ian Holloway)
TAURION TROU DE LAPIN: With this release this series enters its third series,
although I am not sure what that means. No doubt it has something to do with a
subscription deal. The idea of the series didn't change. Its still a whole bunch of river
recordings made by Cedric Peyronnet which are being treated by composers.
Sometimes in a very electronic way, rendering the original into something new, but
then also sometimes staying closer to the original field recordings, it seems, but then
put together in a new sort of collage of sounds. I think Dale Lloyd - of the and/OAR
label - is somebody who holds a balance between both ends. While we recognize water
sounds, birds and branches, there is seems also to be some sort of sound processing
going on. I am not exactly sure what that is, but my best guess is there is a fair amount
of changing the sound color, along with, perhaps, minimal sound processing through
digital means, especially in the second half of the piece, but perhaps also in the first
half of the piece: its just not easy to tell. Its this fine balance that makes this a great
piece. You keep wondering if what you hear is real or not. I played this a couple of
times on repeat and usually I have a better picture then, but in this case I am less and
less sure. Lloyd has created a fine piece of electro-acoustic music, based on field
recordings and some highly interesting forms of sound processing, all keep within close
distance of the original sounds. Moving through a number of phases, or stages and thus
creating an excellent composition. One of the highlights from the series.
(Frans de Waard)