{"id":11092,"date":"2026-10-18T22:19:19","date_gmt":"2026-10-18T21:19:19","guid":{"rendered":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/?p=11092"},"modified":"2026-10-18T22:19:19","modified_gmt":"2026-10-18T21:19:19","slug":"laplante-pozzer-duplant-reviriego-poppy","status":"publish","type":"post","link":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/2026\/10\/laplante-pozzer-duplant-reviriego-poppy.html","title":{"rendered":"Laplante, Pozzer, Duplant, Reviriego, Poppy"},"content":{"rendered":"

<\/a><\/span>Travis Laplante: Estuary<\/em><\/a><\/strong> [Carrier]. “All sounds on the album are full exhalations through the tenor saxophone.” I don’t know how he’s put them together, but each of these two pieces were recorded in separate, single sessions. First track Blue Fire<\/em> glides and buzzes like a bowed electric guitar, alternating between dark and light, with Laplante using overblowing to produce the requisite distortion. The title track sounds more traditional – I’m assuming droney saxophone pieces qualify as a tradition now – with light and floaty sounds, almost ethereal except that the breath gives enough body to remind you of Laplante’s physical presence. A good album if you are leery of saxophones.<\/p>\n

<\/a><\/span>Federico Pozzer: Musical Faces<\/em><\/a><\/strong> [New Portraits]. A definition of the ephemeral, a set of nineteen one-minute pieces, each for a different soloist, and each piece is little more than a scattering of dust. Pozzer has drawn a face of each friend over a sheet of musical staves and then erased it almost entirely, leaving behind a few slivers of unresolved marks. In each piece, the subject is the performer, their instruments ranging from voice and violin to drum machines, field recordings, sine waves, pen and paper. At this scale, the insubstantiality becomes the substance itself, an elusive quality as each musical moment is so fleeting, with no scope for continuity. It invites instantaneous, momentary listening, even while raising questions over how much faithful the performers are to the score: can they interpret their own erasure objectively? A strange album, especially considering I know Pozzer only for his album on Another Timbre<\/a>. <\/p>\n

<\/a><\/span>Bruno Duplant: athanor<\/em><\/a><\/strong> [Dissipatio]. Didn’t expect this from Duplant. This time he’s playing an organ with “electroacoustic devices”: they’re drones, I guess, but the first track sublimation<\/em> is extraordinarily dramatic, with orchestral swells that transform the nature of the piece section by section, chanting choirs and a range of expression quite unlike other works I’ve heard by him. Second track e\u0301ternite\u0301<\/em> fits into a more conventional drone genre but still contains enormous depth and detail in its densely-packed ambiance. The final track albedo<\/em> seems more aggressively minimal at first, with bass organ tones held beneath what appears to be a sort of automated hurdy-gurdy that loops and buzzes on metallic strings. The interaction between the two becomes fascinating, austere and intricate all at once, but then it falls away into an extended coda of a keening solo. An unusual album that plays with your perceptions of sound and genre.<\/p>\n

<\/a><\/span>\u00c0lex Reviriego: Huesos de corceles exhaustos<\/em><\/a><\/strong> [self released]. Didn’t expect this from Reviriego. Where’s the guitar? More electric organ and “electronic devices”, this time producing a triptych of evocative, slightly creepy mood pieces. Nice handling of tone and blending of sounds, stretching to some icy melodic figuration in the first track. After a shorter interlude, the concluding title work starts to either decay or sprout into something both more abstract and organic, with hints of unstable noise held in restraint. There’s even a little guitar, almost unrecognisable. The brief, allusive sleeve notes suggest that this was indeed composed intuitively, with a kind of dislocated subjectivity taking hold, which might explain why it can have a strong effect on the listener’s emotional responses.<\/p>\n

<\/a><\/span>Andrew Poppy: The Beating Of Wings (40th Anniversary Edition)<\/em><\/a><\/strong> [False Walls]. An album that’s too ingrained in the foundations of my aesthetic understanding for me to say anything critical about it, so I will merely note the pleasure it gave me just to hear that it has been reissued. I haven’t played this new edition, because it’s running through my head while I’m writing. Looking back, it signalled that “minimalism” as it was then understood had become a point of origin, which could be taken in multiple directions. That’s precisely what Poppy proceeds to do in these four pieces, while retaining a clear compositional voice of his own. It gives the music unusual resilience: it was catnip back in the day for precocious highschoolers from whom the rest of the Zang Tumb Tuum catalogue wasn’t quite pretentious enough and yet has aged better than anything else on that label. The Anniversary Edition consists of a remaster (shrug) and no bonus material such as demos, false starts or invaluable snippets of the engineer saying “rolling on one”. Christ I’m old.<\/p>\n","protected":false},"excerpt":{"rendered":"

Travis Laplante: Estuary [Carrier]. “All sounds on the album are full exhalations through the tenor saxophone.” I don’t know how he’s put them together, but each of these two pieces were recorded in separate, single sessions. First track Blue Fire glides and buzzes like a bowed electric guitar, alternating between dark and light, with Laplante […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,44],"tags":[539,836,154,210,834],"_links":{"self":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts\/11092"}],"collection":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/comments?post=11092"}],"version-history":[{"count":14,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts\/11092\/revisions"}],"predecessor-version":[{"id":11119,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts\/11092\/revisions\/11119"}],"wp:attachment":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/media?parent=11092"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/categories?post=11092"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/tags?post=11092"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}