Jonny Nash`s music altered after he recorded with Gigi Masin – as part of Gaussian Curve. Jonny named his imprint Melody As Truth, and that truth seems to be that less is more. His releases, and those of label mate, Suzanne Kraft, have become studies in increasing reduction. Minimalism as melody.
There`s some guitar on Eden. Both acoustic and treated. But the influence of Jonny`s axe heroes – Manuel Gottsching, Steve Hillage, Vini Reilly – is way down in the mix. Subtracted. The key elements now gongs, chimes, fractured piano and plenty of space. Sampled dialogue surfaces, Orb-like and out of earshot. Leaving you guessing whether he lifted it from a mission control transmission or a self-help tape. I`m leaning towards the latter, since the vibe is that of brightness and serenity. The soundscapes as New Age-y as anything on Light In The Attic`s Microcosm box. “Post-Techno”. Like a processed echo of mid-late `90s IDM. Frozen, near transparent, microtome cross-sections, of say Jon Beltran`s Ten Days Of Blue, or Neil Ollivierra`s work as Detroit Escalator Company. Drum machines still flickering faintly. The bass at their heart still beating. But Eden is also part Post-Rock. A similar, diffuse, ethereal reading of Tortoise`s seminal TNT (which I can also hear in the recent G.S. Schray release on Last Resort). Where Jazz, Modern Classical, Electronica and Americana meet.
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