Releases » KVIST 002: Web Of Light
Release Date: 1 April 2008
Limited run of 500 on 140g vinyl
Epic soundtrack to a “lost” movie, in 3 parts.
|SIDE A:||The Last Ride||Sample mp3|
|SIDE B:||Bardophasing||Sample mp3|
|Impossible Love||Sample mp3|
Joseph Raglani : Analog Synth, Sine/Squarewave Generator, Electronics, Tapes, Vocals, Guitar and Places. The record version of Web Of Light is available on KVIST Records. Limited to 500 copies on 140 gram vinyl with pro-printed covers and inserts. “Raglani’s use of analogue electronics is tied to traditional Krautrock by a thread of dark romanticism extending, in Germany, back to the work of Caspar David Friedrich. Epic and tumultuous landscapes as images of psychic space; hazardous journeys through awesome and forbidding worlds; the hair-blown viewer looking down onto incredible canyons…The entire extended metaphor of Friedrich’s work, linking the arc of a spiritual journey to the beautiful and tumultuous work of nature, is conserved in the work of the kosmische school. Raglani’s relationship with the music of Schulze or Fricke is not ‘retrospective,’ but contemporary. The musical commonalities proceed from a shared commitment to the elaboration of exotic musical spaces, pursued chiefly through melody, adorned by figurative electronic flourishes and concrète motifs. What is missed in alot of drone and noise is the ability of the sound to paint a scene; too often, we’re presented with a blandly ecstatic wash of lo-fi murk, more stoned than psychedelic. Raglani avoids these generic limitations by engaging more directly with the tradition to which his peers owe, arguably, the most considerable debt. What he deepens in that tradition is in the abstraction and development of themes–spreading out the narrative through textural variation, rather than driving ever forward through arpeggios and circular rhythms. If Raglani avoids the ascending freakouts of early kosmische music, however, it is because everyday life today is freaked out enough on its own. What is needed, rather, are sounds that can address our already-piqued uncertainty by involving it in a story it might recognize as its own. So there is little here, also, to tether Raglani to the generic vibrations of noise and drone, though he uses some of the machines that make them; instead of any massive simultaneous display, secrets are revealed gradually and cumulatively. Raglani’s voice may sound familiar at first, and there is no doubting its context and sources, but the events described by his music trickle out in shapes, and at a pace, uniquely his. The scenes he composes, surreal but distinct, have all the luster of real paint.” — Mike Ferrer.
“april 2008 release ; i had heard a bit of joe raglani’s music c/o the releases he’s sent over on his pegasus farms label & the split w/mike shiflet’s scenic railroads, but a prescient concert promoter (kvist’s john tamm-buckle) had the foresight to put us on the same bill in the stl a few months back & i got the chance to sit & give his music my full attention … needless to say i was considerably impressed with the range & depth of sounds he managed to conjure up from a table covered in antique & modern electronic sound-producing apparatus – harsh & unforgiving, but never letting the proceedings dip into a miasma of definition-free overload … he kept the reins close at hand & the music thrived because of it …
the next day a bunch of us were driving around on a particularly grim / grey sunday morning when john put on an unlabeled cd-r – plaintive, mainly pedal-steel based instrumentals ; nothing at all like the eno / b.j. cole collaborations but still suffused with sparkling electronics & a warm tonal bed … sure enough, this was joe’s other side, recorded in the wee hours after marathon shifts tending bar as the city slept …
flash forward a few months and here’s the first of what will hopefully be a long string of records by joe – this one nestled firmly between his two sides ; the pastoral minimalism of aggregate acoustic guitar patterns & whisper-quiet vocals comfortably adjoining thick swarms of analog drone & mysterious electro-acoustic activities – at once invigorating yet with a deeply ingrained sense of melancholy …
joe’s on my short-list of people for whom i have high hopes (there’s an album on kranky coming in the near future) – seriously, don’t miss this one …” — mimaroglu
“Web Of Light, an immaculately produced 140 g limited edition LP by St Louis based Joseph Raglani, comes with an elegant insert advertising a film of the same name (title translated into French). That’s hardly surpirising, since his Myspace site lists film as the first of many influences, and namechecks Godard and Bresson among others, but it’s not worth summarising the plot, since the mysterious press release informs us that the film was never made, and “remains the imaginary record of something that happened”. Even so, that old ‘cinema for the ear’ appelation is relevant, as Raglani’s music, made with analogue synth, guitar, vocals, wave generators and field recordings, is certainly rich in detail and imagery.
The basic working method on these three all too brief tracks remains the same as on last year’s beautifully elusive Of Sirens Born (Gameboy): take a slab of spacious and unashamedly tonal drone vaguely reminiscent of mid-70s Kosmische electronica and partially bury it under layers of moss and grit. Imagine Merzbow guesting on a Cluster album. The liner notes acknowledge the “courteous participation” of several noisy notables, including Aaron Dilloway, Ron Lessard, John Wiese and C Spencer Yeh, but it’s not clear where or even if their work is sampled somewhere along the way. But trying to work out what’s going on and why it all sounds so damn good is a real joy.” — Dan Warburton, — The Wire
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