As a solo artist,
Gregg Kowalsky
is known for creating sound installations involving site-specific arrangements of cassette players, as well as dark electro-acoustic drone works. His recordings on labels like
Kranky
,
Root Strata
, and
Digitalis
are often minimal but highly considered and nuanced, and while his 2006 debut,
Through the Cardial Window
, is bright and shimmering, his
Tape Chants
releases are bleaker and more ominous.
L'Orange, L'Orange
is far less conceptual than most of his solo work, and it ends up being much more relaxing and optimistic than his usual output. Recorded after the composer moved to Los Angeles, the album features analog synthesizers (edited from recordings made during his decade-long Oakland residence) along with bells, pianos, and other acoustic instruments. Some pieces are adorned with tape hiss like his earlier material, but it sounds much warmer and more comforting, with the brief "Tonal Bath for Bubbles" every bit as light, fuzzy, and soapy as its title, and "Tuned to Monochrome" blissful enough to appear on a
Laraaji
album.
recalls the swirling psychedelia of
Date Palms
Kowalsky
's collaboration with
Marielle Jakobsons
, and while this release lacks the plodding drum machines of that group, there is a broken pulse to "Pattern Haze" and "Ritual del Croix," resembling a sunnier version of
Loscil
's glacial ambient dub. Even though the album is soothing and meditative, there's still a sense of excitement to it, keeping it captivating and engaging rather than merely pleasant. The energy level seems to dial down a bit during final piece "Blind Contour Drawing for Piano," and its echoing notes are perfect for a reflective comedown. Richly textured yet spacious and meditative,
is some of
's most rewarding work yet. ~ Paul Simpson