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From Dust To Dusk

by Sampson - Carroll

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1.
Moon Over Pi 10:39
2.
Enchanted 09:45
3.
Man Is Sand 11:40
4.
Sombre 10:55
SOMBRE Jeff Sampson (2021) Where I am going, where dead must go, there is no shoulder, no where to moan. When ended roamin', when leaves and flowers fall in the echo then I am home. Now it is snowing. the city bluer the wind, it comes again. A wave goes through. Oh, there's a sitting old. A listed memo, no. Against the strength to breathe a hand will turn to go. A when is no when a turn is slow. A yen to leave you, all knowing. No treasure. No place beside the stone. Another furtive moment will not arrive. All calls, still frozen. All calls - all those are gone. All of them gone. All of them. There are no calls. Buried them.
5.
Invocation 09:20
6.

about

Our second release when we were still calling ourselves Embracing the Glass. Everything was recorded straight to 2-track in front of a live audience in various venues between 2003 and 2004.

Sean Carroll: electric guitar; guitar-synth
Jeff Sampson: voice


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"Eerie sounds waft like spectral entities, generated by guitar then transformed into highly treated otherness. Chords slip and skitter like a young child crossing a frozen lake, achieving a crystalline distinction. There are instances in which the guitar strums untreated, counterpointing a violin-like cadence.

The vocals start out sounding like a cathedral recital, but swiftly adopt a more modern resonance with liquid properties reminiscent of a ghostly opera. The voice trembles and warbles, each expression stretched into a sonorous call that combines humanity with a sense of timeless endurance."

- Matt Howarth -- Sonic Curiosity


"The level of ambient music depth and texture they achieved in these live settings is quite the achievement. FROM DUST TO DUSK is a beautiful album which veers from ethereal floating minimalism to darker stretches of formless, more abstract, soundscapes. Sampson’s voice, while usually treated somehow (e.g. deep echo) is almost always discernible as being of human origin, and frequently has a haunting and even delicate quality to it. Carroll’s guitar is sometimes recognizable as such, but frequently it’s indistinguishable from a variety of synths.

The album begins with the best track, the stunning "Moon Over Pi", which floats on clouds of gossamer notes and spacy washes above which Sampson’s voice gently hovers singing in an unintelligible but beautiful language. His voice has a strong choir-like sound to it, and this makes the song even more peaceful and soothing. "Enchanted" opens with a soft and sad acoustic guitar loop and occasional peals of sparse echoed electric guitar. Here, Sampson's voice is less altered and more straight-forward. I can't discern if these lyrics are an imaginary language or perhaps an ancient tongue, but I don’t think it matters much as his singing is haunting regardless. Synth strings color the background in melancholic shades of deep blue/violet. The track unwinds patiently over its near ten-minute length with subtle variations, yet has a sustained mood of sadness and longing. "Man is Sand" is decidedly more abstract than the first two songs, beginning with an assortment of skitching noise effects and swirling textures but eventually veering into a feedback-like number, drenched in the same wall of sound approach as the duo Hammock brings to their music. "Sombre" resonates better for me, with its strummed and slightly twangy guitar, a-la Twin Peaks, and background reverberating synth textures containing a high-pitched timbre. Sampson's voice, again deeply echoed, adds a forlorn quality to the minimalism of the piece. "Invocation" goes in a drastically different direction, with its deep rumbling drones and overtone chanting-type vocals. While not oppressive or dark, the gravitas and weight of the music stands in marked contrast to the more ether-like strains of what has come before. Primal and powerful is how I would describe the cut. "The Eastern Front" closes out the CD in superb fashion, with minimal bell-like guitar notes pealing off in deep reverb. Humming textures add breadth to the music and Sampson's wordless vocalizings, first in the mid-to-low range of the scale then back to his characteristic higher end, fit the stark landscape of the track perfectly. Expansive stretches of land are evoked by the sheer spaciousness of the music."

- Bill Binkelman -- Wind and Wire

credits

released May 18, 2005

license

tags

about

Jeff Sampson Colorado

no-rules/ progressive/ electronic/ experimental/ improvised and constructed

“...like being stuck inside a huge, haunted castle, straight out of Poe or Lovecraft, where nameless terrors await the unwary.”
— Cyclic Defrost

“...as if groaned by a lethargic vampire singer. ”
— ambientrance
... more

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