Interior Landscaping by LSZ

"Interior Landscaping" is a record I've imagined for many years, having a long-time fascination with the overtones and combined frequencies in various rooms and buildings I've lived in.

What I mean to say by this, probably ungracefully, is that every now and again, there is a beautiful culmination of harmonic information floating in the air, an entirely incidental mixture of appliance and electrical humming, partially blocked duct work and vents, and perhaps even something in the close vicinity outside the building, such as a nearby lawnmower or road work crew.

During moments like these, I've tried very hard to locate the most ideal physical position in a given room to record it, which is quite difficult, when the specific combination of sounds can only be "glimpsed" while standing in one exact spot, with my ear turned to one exact direction.

The recordings offered here are probably the very closest I have ever been able to get to capturing a moment like this. Even now, as I type this, fully content with the quality of the audio-fabric I'm offering to you, I can unequivocally state that I only managed to capture a facet of the real room tone I was trying to record. These pieces have turned out well, despite this, so I come away relatively satisfied with the attempt, but I am sure I will continue to try again and again later, and when that happens, it will be interesting to have this release in hand to compare it with.

Musically, texturally, and so on, "Interior Landscaping" takes cues from many of my favorite atmospheric artists, from Aube, Howard Stelzer, Rod Modell, Francisco Lopez, Richard Chartier and Nicholas Maloney - the latter of whom was particularly influential to me on this release through his superb box set "Forms Within Spaces," which I had the pleasure of publishing for him at Psoma Psi Phi in 2020, five years ago almost to the day.

And five is most certainly the magic number here - Nicholas' album and my own are both five pieces that run for exactly one hour - and again and again many times over it is possible to find synchronicity of the numerical, thematic, musical and otherwise when dealing in abstracts and minimalism.

This is perhaps one of many reasons why laboring for hours over music that presents itself as disarmingly simplistic is so rewarding, like applying dozens of coats of paint to a canvas that are each so thin that the naked eye cannot detect them, but without those layers, the piece is not the piece.

And in this situation, when I am working with nothing more than the sound of air and hum in an empty room, shaping it and layering it into something that resembles a chordal structure, I am once again confounded by the possible density of something that is not really there.

RECURSIVE AUTOTROPHIC LANDSCAPE

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