In this project, we find Matthew Cooper, moonlighting from his Eluvium dayjob, communing with Charles Buckingham on a project dubbed Concert Silence - a recording captured then released. Word had hardly spread among ambience-chasers and Eluvium-spotters before it was withdrawn, taking on a mythical Shangri La-like aspect, to be ever-pursued - spoken of with a faraway wistful look.
Generally speaking these tracks work in a far more subtle way than on the album... The short opener 'With Bicycles' eases things in gently with a distant trebly rhythm working in the background while warm and soothing suggestions of melody battle it out for front place in the mix, until they eventually become a single enveloping, comforting somehow familiar friend.
'Strange Footing' continues with the same sound palette in a sort of dimmed down fashion to begin with, making the previous track sound like a distant memory. A little like a loop stuck in your head but somehow constantly evolving. For me this works on an almost dubby level and as the sounds are pushed to the fore they begin to develop their own idiosyncrasies; a slow yet functional muted percussive stomp becomes the skeleton for THAT hypnotic synth phrase, while small pops, glitches, crackles and rich ambient textures build into a fuzzy soundscape that constantly, but subtlety evolves. All the while the heartbeat of the drums is the underlying framework.
'For Leaves' works for me on many levels; the shimmering lead synth gives way to fractured micro rhythms which have a sort of reduced distortion which is all glitched up and feels like some ancient machine language magically crunching away. Then euphoric drones lift the track as it changes gear into a totally blissed out zone which eventually, gently retreats in a ghostly and emotionally resonant fashion with distant fading keys.