Slow, rich deep trance from Paddy Shine of Gnod. A machine that allows you to transport through time and space within its soft waves. Seems like there's nothing to it on the surface level but the layers are subtle and you'll keep finding new variations as you listen.
Favorite track: Slow Decay.
AYN SØF (or Ein Sof), in Kabbalah, is understood as God prior to his self-manifestation in the production of any spiritual realm, likely derived from Ibn Gabirol’s term, “The Endless One”, translated as “Unending” , “(there is) no end”, or simply “infinity”.
And so is fitting that Paddy Shine, Co-Founder of prolific noise merchants GNOD should choose the name as such for his AYN SØF project.
For over 10 years Shine has been a whirlwind force of frenetic electric creativity, working within a hugely wide spectrum of sound and with a multitude of different satellite projects, it can indeed be said, like Ayn Søf, Shine is infinite, a Perpetual Motion Machine, no death, only transformation of energy, and with AYN SØF, Shine is at his most subtle, most reflective, and most tantric.
Following on from his self titled 2015 debut on Tombed Visions and last years immersive GONG GALLERY on Concréte Tapes, his debut release for GRFRQ, SODDEN CURVE, see’s Shine transcend deeper into the minimalist depths of tonality. Owing much to Eliané Radigue’s Trilogie De Morte, or La Monte Young’s early Drift Studies, SODDEN CURVE is a one lone, tone, drone affair, a subtle movement of frequency hum, serving as an anchor to ground ones self in single pointed concentration. STILL LIFE’s slowly morphing drones act as a time machine, or better yet, a time eraser, pulling the consciousness down deeper into the self, into the earthly ground, while SLOW DECAYS’s sparkling kosmische synth shimmer, alludes to cosmic highs of the outer body expanses, lifting ones mind to the stars above.
No doubt influenced by Shine’s recent re-location to the boggy wilderness of Ireland’s countryside,
SODDEN CURVE proves as weighty, subtle and dense, with an underpinned reflective beauty, as the peat infused earthy landscape and open star spangled skies that now surrounds him.
Physical copies come in pro dubbed C30 Cassette tape, four page- double sided- full colour inlay and as with all GRFRQ releases, a screen printed acetate Golden Spiral.
"We have no prairies
To slice a big sun at evening--
Everywhere the eye concedes to
Is wooed into the cyclops' eye
Of a tarn. Our unfenced country
Is bog that keeps crusting
Between the sights of the sun.
They've taken the skeleton
Of the Great Irish Elk
Out of the peat, set it up
An astounding crate full of air.
Butter sunk under
More than a hundred years
Was recovered salty and white.
The ground itself is kind, black butter
Melting and opening underfoot,
Missing its last definition
By millions of years.
They'll never dig coal here,
Only the waterlogged trunks
Of great firs, soft as pulp.
Our pioneers keep striking
Inwards and downwards,
Every layer they strip
Seems camped on before.
The bogholes might be Atlantic seepage.
The wet centre is bottomless."
released February 23, 2018
Sounds - Paddy Shine
Words - Seamus Heanley
Mastering - C.Haslam
Photography - P Shine/A P Macarte/ J W Robinson
Prior to the release of The Mirror, Gnod had generally been a long-form, krautrock-influenced psychedelic collective, putting out tribal rhythm, pagan rituals on LP. That's why the first 30 seconds of The Mirror are so shocking: This is repetitive, heavily political, metallic post-punk. It sounds less like Amon Duul and more like Metal Box-era PiL or Cop-era Swans, with angry sloganeering about the rise of fascism shouted above the din. Levrikon
An absolutely astounding work. It sends my consciousness to another plane for the entirely of its run time. The 45 minutes that make up tracks 4, 5, and 6 are like nothing else I've ever heard. Levrikon