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2000's Celestial Geometries was the last we heard from
the collaborative work of Oöphoi and fellow Italian sound-artist Enrico Cosimi: Tau Ceti. That was an intriguing work of
deep space drones favored in many space music circles, though I personally felt it to be a bit too static and vaporous for
frequent listenings. That Cydonian paean to Martian landscapes (and the "face" on Mars!) is now followed-up by Subterranea,
a work that focuses more upon inner landscapes, though these territories are no less vast and foreboding.
What sounds like processed flutes, slowed down to near non-motion, begins "In the Wake of Ouranos." This beautiful and sonorous
atmosphere is joined by another more recognizable flute, intertwining in a gorgeous ambient harmony. This is quite a change
from Celestial Geometries, which was just as deep, but far less inviting (as one might imagine when thinking of the
cold vacuum of space). The flutes get more intense as they wrap around one another, punctuated by crystalline sounds at the
edge of audibility. We're in an underground cavern, but the sun and fresh air are not far from view, even if just a pinpoint
of light far, far above. "Vril-Ya" includes the atmospheres from the previous track, but expands upon them into more resonant
and creepy areas. Icy drones remind us that it's cold under the earth, especially cold the deeper we travel. Echoes of Oöphoi's
Athlit are here, lending a slightly reverent feel to the supremely dark (but not uninviting) proceedings. "Omphalos"
has an almost Pete Namlook feel to it, circa 62 Eulengasse, but with a Spirals of Time psychedelic phasing.
There's also a reminder of the tonal wash of Klaus Wiese's synth work, certainly a strong influence of both Oöphoi and Tau
Ceti. It's a short track that transitions directly into "Aph-Lin" (sorry, but I can offer no help as to what these titles
mean). Synths that sound like Tibetan singing bowls drone brightly along with the subterranian ambience of the earlier tracks.
We're heading down, down, down, into the Earth's core--but we aren't sure whether the radiance ahead is the hidden sun of
Pellucidar, or the molten core of the planet waiting to immolate us in its supreme heat. Perhaps both, though this oneiric
journey offers no definite answers. We return to the thematic territory of track one--all harmonic flutes and crystal tinklings--but
melded with mystical overtone vocals. This all proves to be a warm-up for the next track, the epic twenty-two minute "Rex
Mundi." Dramatic synth lines give this the martial flair of a journey through the underworld, perhaps not a steaming jungle
but a rocky ground dotted with outcroppings that could be domiciles. This is a fine example of drone ambience that goes somewhere—remaining
largely static, though with a definite feel of forward motion. "Rex Mundi" is a little spooky, but mostly a haunting and
mysterious journey into indefinable regions of the imagination. Finally, we reach "The Chamber of Eternity" with a little
help from the practiced singing bowls of Klaus Wiese. The bowls gong softly, reverbed to infinity, melded with the soft influence
of tracks one and two. We've reached some inner center, expanding and including the influence of our journey. The sounds
of Wiese fade to leave the sonic work of Oöphoi & Tau Ceti alone, completing the sound-circle, allowing a perfect transition
for a repeat play of this lovely, deep album.
Subterranea is the strongest work from Oöphoi since the first Nebula album and the marvelous Bardo. While the
sound palette does not differ greatly over the album's length, its deep and mysterious tone never wears on your consciousness.
This is a great disc to zone out to, and even better as accompaniment into the night's journey through slumber. While its
dark and static nature make it a poor choice for those who prefer lighter and more outwardly listener-friendly ambience, I
find Subterranea to be an accurate and compelling vision of underworlds and shadowy realms. Consistently inviting
work from artists that seem to get better and better with each release.
Limited to 1,000 copies from the Czech Republic label Nextera.
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