There`s pedal steel, Hawaiian slide, in here also. But it`s part of a much more complex mix of played, sampled, found and treated sounds. Fools` Harp is less Raymond Richards` ambient Americana, and instead say the out-there oceania of Tropical Hi-Fi – that`s why maybe Hawaiian slide in this case is more accurate. Its slack tunings submerged in a musical synthesis of summer, combined with a borrowed breeze, stolen surf, and gentle tides of bell-like tonalities. – slowly dancing with the weather. Subtle new age synth work filling the air between their chimes. Pan-pipes, harmonica, maybe melodica, all sharing the hammock. Psychedelic sanza tongues are set in series. Carrying both melody and a metallic rattle. Hushed human harmonies hide amongst muted tones that ripple and rush like mountain snows – fresh from a spring thaw – racing rapids. Keys come in jazzy details and arrangements. Backed by bongos and big bass surdos. Brushed drums anchoring frolicking free electronics. Live basses are fretless. Their machine counterparts boom in beatless improvisations. Guitars bring a Woo-like eccentricity. In between Inoyama Land-like glass marimba interludes act as aural palate cleansers.
Terz fizzes with glitch and hum. Imagine Phil Manzanera`s Islands remixed by Lovefingers and Secret Circuit, re-remixed with Fennesz finesse. Dolpherede is exotica, library music, ligated to a computerized Caribbean skank. Something that should segue sweetly with Seahawks like-minded KPM collages. Creating a kaleidoscope collision of old and new. Durutti Column`s tremolo tricks by way of Bullion. Sam Kidel castaway with Art Of Noise.