Linden Pomeroy doesn’t use delay and reverb to generate a sense of space, but to smother it. By sending each guitar note through funnels of infinite repeat, opening track “Festival Of Red Leaves” grows tendrils of harmony and compounded feedback, which press together until the initial melodious sentiment is squeezed out entirely.

The second track swaps the singularity of the first track with a sequence of melodic chambers, each housing the guitar within a different atmospheric casing. Those infinite delays are shortened into extended comet trails, dripping out the back of contemplative guitar refrains as they soar over field recordings of cicadas at night, or dwell within absolute silence, or press and clip against the walls of stereo volume confinement, or detonate within excessive amplifier distortion.

Jack Chuter – ATTN:MAGAZINE