j— 5J — - ulmni [ Rem oral's Brian John Nil ^d^e]lhLl^ been experi men tmgwiihguiiar DDiiosfd^ ^iLtice ]995. Ensosilment mnrkia relum (o long form mnbjenlguiliir drones [hat hnve been absent from Remora^s recorded oulput since 1999^ a Ambient Drones for One Gu if ar, ll was recorded ^^llh one ^ilarjnooverdubbjng) spin inio three efleclchiUinels (loop A envelope lilter, dislortion* loop^ Sl reverb" distortion^ sub-ociave, it reverb) & an acoustic guitar in front of an ^mpljl^er used asunambieniroommic. QnEusoiiinient Remorn [hj\nvs out the Jdenol'using the gujtLirosii melody instrunienlj approaching It instead US a sound source^ as s]\ tuned ^sires mounted c^ wood. The j den of song & melodv is replaced bvan incretiied importance on ihe tone& feeljng of the sound. Aconvevingofemohon^sTthout impleraenbnganvoflhecommon tricks of the ^jlartsi's trade. Eusunhnait it^ one piececlockinginal over seventy mmutes filled with d\Tiamics one mjghl feel in a restless sleep* a surrealistic soundscape full of monstrous walls & serene calm moments. ilisbothclousCrophobLC i%calm. Youcan hear the influences loMilchelTsideasof lone A beauL^from JushnBroadnck to Gvoig>^ Ligeli loMike VanPorllleetJis he occasionailv coaxes sound out of the gui tar, but more often forcefully beats il out. This js ambient music for the larniac rather than mside the airport lobbv. Viitit Rcmoraon ihc wcbr www. til 1 be micdi a_conVrcjiiDra W'w^v.nij sp acc.cG m/rc mora For iKukiDg & inlcrvjcwsconjacl: silhcr^py @ m 1 b crmcdi a.co m ping things www. pi ngl bj ngs.conVPTI abcl .him 9 V^H99