Green open spaces come to life on this dazzling collaboration between two of Texas’s best, CC Sorensen and Gretchen Korsmo. Collaborating remotely, the duo fills the distance with thoughtful, resonant landscapes and the sound of stars falling in the West Texas expanse.
Disappearing into the parched terrain, Korsmo’s magnetic passages on Rhodes are like light arrows, small, lightweight, and impossibly sharp. Floating above a dagger’s edge, she seeks out a way through the burning terraces on “Freight Elevator Machine Room.” Sorensen, for their part, adds distraction and accouterment with fizzing electronics and jangling MIDI bracelets. There’s a neon thread woven throughout, like a signal to the past that we’re ready to move on.
Diaophonous sonic pathways run concurrently throughout Field Patterns. Ephemeral tones mesh with metallic warnings on opener “Sunflower Hangs Its Head,” the Rhodes making a melancholic statement against Sorensen’s aqueous twinkling hopes. When Korsmo’s melodica swims into view, a tired buoy ready to give in to the waves but the lilting timbral oddities keep throwing out sonic lifejackets to keep all thoughts and prayers above the rising tide. Moving harmoniously, but treading softly and crawling with purpose, “Sunflower Hangs Its Head” finally finds solace in being submerged beneath the ghostly surf.
I’ve long been smitten with the digital aquatic feel of CC Sorensen’s work, and paired with Korsmo’s organic reverie, beautiful alien worlds rife with danger and magic materialize. Field Patterns maxes out the celestial moments to find quiet comfort in the hollow where there’s still time for an embrace.
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