Signals

Daniel Davies first solo album for Sacred Bones isnt a film soundtrack, real or imaginary, but it was composed with the visual art of Jesse Draxler in mind. His work is featured in the albums liner notes, and the pieces consist of dark, grainy landscapes with strange sculptural shapes superimposed onto them. They look obviously unnatural and pasted on, even to the point of seeming like an interruption, yet theres something about them that commands you to think that their presence is normal and expected. Davies music attempts to work similar contrasts, forcing different moods and tones to coexist and somehow sound made for each other. Its not as jarring or discordant as that sounds -- theres lighter and darker elements, and there always seems like a balance between them. Possessor is one of the clearest examples of a track that goes in a different direction than expected, as it begins with sluggish beats and ominous pianos, then manages to brighten up with shimmering arpeggios and a hopeful melody. Destructive Field features Davies godfather and regular collaborator, John Carpenter, and its easily one of the albums eeriest pieces, particularly due to the bassoon part and a recurring noise that sounds like a slowed-down, ghostly voice. Phantom Waltz is spooky and also a bit playful, with staccato vocals dancing around harpsichords and circular guitar flickerings, anchored by steady waltz-time drums. Like Davies previous studio album, Events Score, Signals is suspenseful without leading to an attack, and since the composer isnt tailoring his work to sync with an actual film script, hes free to explore certain moods as he sees fit. While the individual pieces do progress enough to evoke a sequence of imagery in the listeners mind, they also function as aural paintings, just as theyre intended. ~ Paul Simpson