Amosphère - Cosmogonical Ears [Hallow Ground - 2025]Roughly speaking, there are two kinds of drones within the genre, if it is indeed a genre. There are linear or durational drones, which tend to go on toward a particular horizon, driven by forward progress more than the articulation of specific sounds. The other, less popular, it seems, is the cyclical variety, in which a phrase or partial composition is repeated over and over, the drone serving as the ultimate endpoint of these repetitions, though not its telos per se. If you'll excuse this rather cursory parsing of the genre, Amoshpère's latest release, Cosmogonical Ears, definitely falls within the cyclical camp. The album is split into three tracks, two very long (21 and 15 minutes respectively) and one just kinda long (c. 9 minutes), the variety and textural complexity of each composition is impressive, especially given the minimalist source material – synthesizer, organ, flute, and bass clarinet. The opener, "Land of Eternal Delight" is almost suffocating, as if there is about to be a breath to emerge which is then quickly subsumed by the repetition, dragged under water. This goes on for over 20 minutes with little to no obvious development, a fact that reinforces the lockstep of Amosphère's particular brand of drone.
Then comes "Teleportation", which lightens the mood, given over to more electronic influences and a bubbly disposition. There is a shrill background of something high pitched, which helps to contextualize the composition in its decidedly electronic milieu. Brief organ notes shoot through on occasion, parading the diversity of voices that is contributing to the greater murmur. It should be noted that Amosphère has dedicated these pieces to a larger desire to see humanity shed its materialist mantel for greater cosmic mobility. On this point, I am definitely not the right person to comment, though I can say that the compositions themselves feel a bit more grounded than the stated aspirations, stuck within a decidedly terrestrial orbit. The final track, "Black Hole In, White Hole Out", introduces a buzzy, more feral version of the electronic side of things, more FM Synthesis than anything we've encountered before it. The more harmonic phrasing of the previous track is still present, but it is on the verge of being swallowed by a machine, who has perfected the mechanics of the drone and is ready to leave the world of human error behind.
Fans of drone work with minimalist electroacoustic instrumentation will no doubt appreciate Amosphère's subtle compositions. Others without such affinities should find something truly unique and well-measured within a crowded genre. Highly recommended. To find out more   Colin Lang
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