|irr. app. (ext.)
CD HMS 016
Kreiselwelle emphasizes field recordings above all else during its single-track, forty-six-minute running time. Waldron alchemizes a large collection of recorded materials into a consistently engrossing mosaic of familiar and alien sounds where one bleeds into another, and all of it unfolding according to a sonically unpredictable yet organic design. The release is actually the third installment in a trilogy (Ozeanische Gefühle and Cosmic Superimposition, the others) that Waldron has composed under the influence of Wilhelm Reich, a 20th -century psychologist who promoted the idea of interconnectivity between energy, organisms, and the entire cosmos. In keeping with the title—Kreiselwelle translates as “spiral wave”—Waldron restricts himself to sounds that possess a spiral dimension: a lamp-shade spinning in place, beach pebbles being churned by the ocean, the wafting of air around various objects, and so on. Kreiselwelle anchors itself using a nucleus around which field sounds such as the crunch of footsteps, waves crashing ashore, and motorized rhythms of mechanical toys gather. An organ-like electrical vibration drones at the music's center overtop of which Waldron layers all manner of creaking, fluttering, whirring, warbling, and shuddering noises and percussive sounds too. The music flows through multiple transformations, at times spiraling downwards until it's little more than a faint, glassy tone and then escalating upwards, even at one point reaching into the sci-fi stratosphere where warbling electronic tones commune. Eventually the two realms unite with space transmissions joined by waves gently lapping ashore before the soft crunch of footsteps brings the piece full circle.