Between No Things represents over 30 hours of jams edited down to 42 minutes. Nine tracks recorded in Amsterdam, and overdubbed in Madrid. Ideas bounced back and forth by Suzanne Kraft and Suso Saiz. Improvisations of treated guitar and subtle keys. Unhurried sustain and hum. Creating a kind of cloud that its other sounds float on. Melodica blasts, sharp near animal cries. Quiet rain, insect chatter. Field recorded bustle, what could be muted brass. Glitched twitch, tiny aural twists. Serene acoustic strum. Charged Metheny-esque counterpoint. Organic rhythms, slapped out.
While sine waves ring and sing, sonically they sketch neither songs nor sceneries, but musical moods. Post-classical pieces that emerge from a minimalist mist. Unfolding, stretching like dawn. A rising sun bringing light, warmth, promise and possibility, hopefully optimism, a new day. Rarified airs, and atmospheres, channeling energies, striving for synergy, harmony, balance. Giving the listener a little head space to think, or, perhaps more preferably right now, to not think. A few moments without care.
While we’re on Suzanne Kraft his / her solo “ambient” masterpiece, 2105`s Talk From Home, has been given a limited repress. Looking back at the review I wrote at the time, typical of then, it`s willfully “opaque”. I know what I was going on about, but only just…“Smoky Fender Rhodes makes a music like waking, rubbing the hours from your eyes, after an all-night session in Muscle Shoals` Fame Studios, with Spooner Oldham still at it and Dan Penn checking for what’s left of the whisky”…I likened the percussion to morning coffee percolating, and the melodies to both Andras` Erskine Falls and Carl Orff`s Gassenhauer. I also stated that the landscape it invoked was the interior of a Michael Mann & Dante Spinotti crafted Florida beach house at first light.