The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres.
Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for ‘bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”
STAFF COMMENTSBarry says: I love a bit of Loscil. 'Sketches From New Brighton' and 'Plume' get a heavy workout on my home stereo, and 'Clara' is sure to go the same way. It's a beautifully rewarding and rich collection of textural washes and shifting soundscapes, perfectly in line with the rest of Loscil's impressive canon, but standing entirely on its own. Beautiful stuff as ever.