The concept behind ‘Object Trio” was limitation, in which Darren McClure used just three sources per track. Each of these sources was to be either an acoustic instrument or a non-musical object, therefore requiring microphone recordings. Once the recordings had been gathered, they were processed and resampled until each composition began to take shape.
The work, created in Japan in 2014, features two compositions. The sounds comprising Object Trio 1 were sourced from a stone, a wooden branch and a Tibetan singing bowl. Those sourced for Object Trio 2 were a rubber band, water and a lap harp.
released June 26, 2014
Published by Éter
Fluid Radio review:
Object Trio is obsessed with limitation. McClure proves that there really are no limits, even when you try to limit yourself. There are just three sources per track, and that’s all you need. The sources either come from an acoustic instrument or a non-musical object and are then rearranged and put back together, but it’s hard to tell one from the other. That is where the mastery lies. On ‘Object Trio 1’, you will hear a stone, a branch and a Tibetan singing bowl. On ‘Object Trio 2’, McClure used a rubber band, a lap harp and the sound of water.
Peaceful and yet experimental, McClure’s music hones in on an ambient, slightly eerie sound, the Blair Witch returning to her usual hunting ground. It’s minimal in its approach, but don’t be fooled – under its skin, the music shows symptoms of a complex, battle-worn personality that hides a constant, slithering experimentation at its core. The Tibetan bowl echoes in the distance, like a clash of stones reverberating in a never-ending forest. Pines hang above and the cool autumnal breeze floats in on a rumbling drone, chilling the wood with its pre-winter air. Chimes echo and spiral through an infinite age, an open ended chasm of sound that gushes through rocky jaws.
The music flows smoothly, easily. McClure joins one sound with another, forming subtle bridges and then travelling into another tone. The breeze is still here, a rhythmic breathing that comes and goes in steady swells. The music is meditative, just walking on by. Icelandic tones provide a cool jet of air, and, later, electronic sounds twinge and burst against the speakers. Like insects, they hover and dart, and we’re never really able to nail down their position. But they don’t knock the drone off course, nor do they damage its smooth, round surface. He takes non-musical items and makes them musical.
Music is everywhere. Music’s in everything.
Mc Clure’s soundscapes sway with a dream-like quality, and the style gradually shifts. What was once a fluid ambient environment becomes a sublime piece of art. Still, we never shake off that cooler feeling, the chill on the back of the neck as we sail off, leaving the whitecaps of the mind behind.
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