and/5

This album contains amorphic pieces composed using metal and wood
sound sources (some of which were objects performed by Jon Tulchin and
Isaac Sterling), plus field recordings, and voices.

"Eminus" came out of an ongoing fascination for distant and indecipherable
sounds. This work includes 6 silent tracks, varying from 10 seconds to 55
seconds in length. Listening to this album in "shuffle" mode on your audio
player is highly recommended after the first initial listen.

"Nascent landscapes derived from filaments of clouds, vague appearances,
a deep dive into subliminal occurrences..." - Daniel Crokaert (founder /
operator of the Unfathomless and Mystery Sea labels)

Reviews
_________________________________________________________________________________

Ear/Rational (April 2004)
This disc starts with a beautiful track - it sounds like the deepest ocean or an
aurora borealis. Many tracks on here have bass notes that seem like deep
rolling thunder across a never ending plain with the ever so slightest hints of
other harmonic frequencies. Pure listening pleasure. This is delicate music,
one dog barking outside would forever change the actual recording on the
CD. Sometimes I wish I could see wind - all you can see is its effects but you
never get to actually see it by itself. But this CD is what wind sounds like. I
want to get 10 subwoofers all around my house and attempt to destroy the
foundation by playing this disc at top volume. (Don Poe)

ReR (November 2003)
CD in a DVD box. Distant, indecipherable sounds. Atmospheres, serious low
frequencies. Quietly fascinating. (Chris Cutler)

Incursion - issue 70 (August 2003)
Sound artist and phonographer Dale Lloyd released this recording on his
own and/OAR label last year. He's had a few releases since then, so
admittedly, I'm a little late in getting to this one. Growing out of a fascination
with distant and indecipherable sounds, the pieces collected here carry both
the stillness and broad trajectory of gazing out at the horizon, capturing its
essence and amplifying its resonance. These compositions were created
using field recordings and voices, but also recordings of metal and wood
objects performed by Jon Tulchin and Isaac Sterling. The compositions are
accompanied by six short tracks of silence, ranging from 10 to 55 seconds
and peppered throughout the track list, meant to extend the experience of
listening, "to extend the spatial field of track occurrences," or more simply, to
give the listener pause at certain moments to reflect on the sounds
contained herein. And, it should be said, this method works well. Whether
listening to the disc in continuous playback or in shuffle mode (as the notes
suggest), the overall impression is that I am listening to one long piece, with
pauses, silences, spaces in between events. When you look out on the
horizon, maybe you are greeted by the apparent silences of things, surprised
by the stillness, then you might hear something in the distance, a ship on the
sea, the waves, the wind through the branches, low frequencies combining
in subtle turns, the sounds of which funnel through your ears and cause
vibrations that you can still feel, even now, as days, months, years, have
passed since you heard those sounds, still alive in your memory, still
resounding from the distance. (Richard di Santo)