Notes on Vermillion Father – Sietch Tabr (Space Slave) with fond mention of Phil Western’s World’s End
Vermillion Father is Jonathan Sacha, a person close to the Space Slave homebase. Slow loops of guitar, tones and miniature melodies perfectly realized in measured hypnogogic movements. The guitars are not quite naked as they are looped here, but they aren’t much under disguise either. Moderate use of reverb is the predominant sculpting tool used for these interweaving atmospheres. There’s an intimacy thereby created. A late night feeling, with total patience for infinite lengths of staring with wonder out at or into the incomprehensible vastness of space. The thinly decorated clean guitars keep the listener’s feet on the ground. Surrounding slow-moving smokeforms of reverbed tonalities (including usually another lightly sprinkled guitar or two) stir the natural urge to fantasize, daydream, nostalgically ruminate, contemplate, and to wander into other such mental labyrinths. The feelings of this tape are eerie yet comforting, offering a peaceful human-ness. The vehicle of these Earthly-human feelings is the chosen notes and handling of the guitars. Single note picking of simple repeating patterns leaves a lot of space for reverb atmosphere reflections. The dynamism of the sharper pickings (as opposed to washed out drones or walls of manipulated sound) brings a stimulating edge to the spaced-out moods of this tape. Makes for a very alert type of zoning out. Partial nudity of the guitars causes this music to be easier to connect to; some less defined or manipulated sound would be more alienating. I feel myself in the space of this music’s creation. It’s a familiar-feeling, well-lived-in sort of place. I would be very interested to hear subsequent recordings by this artist to hear where else he might go. This is a tape that has found itself played on a good number of hazy afternoons and evenings since I got it. Fits well with the feeling I get when observing the window-shaped sunlight blocks creep across the floor and up the wall over the course of an afternoon. Especially for a summer afternoon/evening when some drift time is available, this one is a prime dish.
To give a taste of something similar:
Something I thought of almost immediately upon hearing the opening of this tape is Disc 2 of Phil Western’s album World’s End. This disc is about 70-85% drifting atmospheres of guitar loops in the same vein as Sietch Tabr. These both are wonderful introspective listening.