Home > 2010.02.releases > Osoroshisa [Nanseihokuto] (2010.02.12)

Osoroshisa [Nanseihokuto] (2010.02.12)

Silent Glass.

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From: http://www.petcord.com/releases/pc0210-01-osoroshisa-nanseihokuto/ [pc0210-01]

Osoroshisa’s second release on Petcord, Nanseihokuto (literally southwest northeast, the four wind directions) is meant to celebrate the earth’s beauty. But it’s not exactly the notion of broad daylight and shiny happiness that comes to mind, but the moody shadows that managed to escape the sunbeams. Rather slowly the sound evolves around a stretched minor chord, sometimes dissolving at either ends of its spectrum, shrinking and expanding. Eery voices lost in a cavernous space, a cathedral of drones constanly changing its architectural structures as sunlight is refracted in coloured glasses. The music appears as a catalyst for one’s own thoughts, where the inscape blends with the music’s resonance.

The comparison with the four wind directions doesn’t seem to be too far fetched, as there is neither a beginning nor an end, but something in between infinity. Technically, the music could be classified as somehow drone, but that would omit the constant modulation and movement of aural events. It might as well be classified as not quite dark ambient, in that there is a melancholic mood that never does turn into bleak threatening darkness. At some point, Nanseihokuto implies a faint hope that somewhere in the infinite flow, there is some kind of rest and warmth. Something as trivial as a hug or a smile.

When is music considered finished and how long is it supposed to last? It surely depends at what point the impression is about to lose its momentum. Osoroshisa manages to hit the sweet spot with Nanseihokuto: Despite its monumental length of 54 minutes everything seems to be in balance. Just enough variation to prevent the music from becoming monotonous, but at the same time enough vagueness to avoid recognisable melodic lines from wearing thin. Just like a face you’ve noticed once without remembering its details, the music sounds differently each time you listen to it. There is much to discover and that concentration is moving inwards, rather than following each detail of the sonic event seems a feature and not a limitation.

Olliver Wichmann

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