Raymond Cummings, The Wire:
…a sometimes choppy yet largely simmering transmission beamed in from another world - soupy, messy, comforting. A sparse, blurry drone that might be pure, ethereal atmosphere serves as the backdrop for irregular blurts of car engine choking, metallic clatter, tonal lowing and intermittent sci-fi echo. Industrious yet never overwhelming, Lowering emerges as an almost meditative experience: a loose net of willful miniature accidents to drape over whatever confrontational silences abound in the world beyond a pair of headphones.
Brian Olewnick, Just Outside:
I think I'd only heard Lyall a tiny bit on one of those Improvised Music from Japan collections a long while back. Here, he's credited with hydrophone and electronics and the resulting collaboration, while just as aggressive as (Brother of Divinity), does seem to contain a more liquid aspect, a friction-filled, granular flow, viscous. There's a great grind in play during the first half of the piece, though the interplay grows somewhat disjointed later on, even somewhat spacey. By the work's end, it's evolved into a wonderful, rich, swampy stew, entirely immersive. More fine work.
Michael Rosenstein, Dusted Magazine:
From the onset, the 27-minute Lowering bursts forth with low-end agitated shudders and quick-fire spatters and scrapes and takes off from there. The two build densities and shifting layers plying bass-heavy rumbles, abraded tumults and shards of feedback in to a surging whole. Concentrated murmurs of crunching timbres provide a foundation of tectonic shifts against which the Olive and Lyall place gestural tracers of scuffs, creaks, percussive attacks, resonant reverberations and cavernous pings. (It’s intriguing to note that Alan Jones who did the mastering of the disc is a career undersea acoustician as well as a musician.) Pacing is also central to the piece, stretching out the velocity of activity to a seething crawl and then intensifying it back up to vigorous agitation. The two are careful listeners and while the arc of the piece is a whorl of motion, a sense of transparency is always preserved, allowing the multitude of sonic strata to surface and then submerge back into the mutable mix.
released January 30, 2019
Cal Lyall: hydrophones, electronics
Tim Olive: magnetic pickups, electronics
Recorded June-July 2012 at Subvalent Studios, Tokyo
Catalog Number: 845-9
Format: Glass-mastered CD, hand-stamped chipboard cover
Limited Edition of 100
Mastered by Alan Jones (Laminal Audio)
Illustration by Jamie Lee Reed
"Territory can be an elusive thing when sharing musical space. In this way, it's been an interesting recording to make. Where we can often identify ourselves by the spaces we occupy, the map sort of disappeared somewhere along the way. Maybe a pleasantly mysterious wrong turn?"
- Cal Lyall
Tim Olive Canada Tour, May 26-June 19, 2019 Performances with Martin Tetreault, Anne-F Jacques, Sound of the Mountain, Allison Cameron, William Davison, Doreen Girard, Chris Dadge, Joda Clement and Mathieu Ruhlmann