Sound, the final frontier... as some Star Trekkie would say. A fact is that the resources and possibilities are almost endless when putting your mind into it.
True, the basic notes are far from infinite but who need infinity anyway? A composer needs skill and imagination and here we perform “seppuku” on the question at hand.
The marvel of modern composition is that the rules are much fewer than they were in the old days. Many of the pioneers in contemporary music experimented and developed mechanical accessories to help evolve the music at their hands.
Composer Stephen O’Malley has the strict vision, aesthetics and skill to create monstrous monoliths accordingly. The massive walls of distortion and feedback are endlessly sculptured behind the distortions of sound and creating flows that need time and space to be grasped.
Whilst the sound hangs over you as a load of bricks the flow is free and effortless.
The music mixes mist with darkness, all sustaining into what feels like eternity. Although the span feels longer than the actual time of the composition it by no means leaves you bored and yawning. Letting go to the vast field of sound is more like being lost for hours in a Rothko painting - it all seems so simple, but the truth is far from it.