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The first location they met for the recording of their acclaimed debut album “Shizuku” was a century-old Presbiterian church in Belligham (Washington DC), whose objects became part of the process; the final result was so inspirational that Corey Fuller and Tomoyoshi Date aka Illuha decided to make a couple of tours in Japan and one over American West Coast, during which they fed their creativity by collecting sounds and shaping melodies along their journeys. They recombined them at a later stage nearby forest limits in Tokyo on October 14th, 2011 (“Interstices 1 (Seiya)”) and at Yougenji, a Zen temple nearby Sendagi Station, in Tokyo on April 20th, 2012 (“Interstices II”) and December 15th, 2012 (“Interstices III”). Even if “Interstices” should be a sort of transitional album before their forthcoming one, whose transition mainly concerns their approach to composition and the tonal structure (the distancing of tones seems even longer than the one on “Shizuku”), that mystical halo and the radiant peaceful energy which vibed in their debut release is a permanent feature on this follow-up and I could argue such a deeply immersive aura got influenced by the sacredness of the places where the sonic synthesis happens. The instrumental and electronic-spotted peaceful ambient on “Interstices” where dilutions of piano strokes, guitar melodies and field recordings sound like perpetually dilating are going to daintily adhere to listeners’ daydreaming.