theoretical side, this issue is interesting to quest. What does it
mean Appalachian Anatolia and how it harks back to the 14th
century? And how it is relevant today? Furthermore, it consists of
one, prolonged track played on guitar by Clara de Asis yet being
modified by the Swiss electronic musician d'incise. If I had
understood it in a proper way it can considered a collaborative issue
though being collaborated separately. A second way to understand it
is that d`incise modified the composition for electric guitar
beforehand and de Asis played it. In fact, by reading a d`incise`s
interview it can be assumed the second version is right. Musically it
is a lengthy, 41-minute composition based on guitar induced
progressions and discontinuations (which does mean silent spans in
between). Yet silence is an invisible conversation as declaimed
Malcolm Mooney in a song of CAN. It is also about arousing and
fading, about being and no existence and tight relation between the
two. The effect of such a sort of production is strongly purgative as
if getting small devils out of your tortured soul (because the world
around us seems to be sick in the way as it has never been before).
Human being as a stupid animal rejects God and thinks of
himself/herself that he/she is a God instead but the result is
pitiful. All the time the same jokes, all the time the same mistakes?
No no. In fact, these mistakes used to become even worse in time.
Miserable. Give up life as a bad mistake. The release is a part of
the discography of INSUB., previously known as Insubordinations, an
imprint to have represented improvised music.