Two new albums from Cardiff’s Oli Richards released over the past couple of months, each intently focussed on the dreamy qualities of drone and reverb.
Delay Cycle: Becoming is described by Richards as using the power of delay to “mimic the feeling of the repeated and ongoing shedding of emotional skin in the cyclical process of becoming a person”. With that sentiment at its centre, the album is a transcendent, and occasionally turbulent, experience. Across five pieces for guitar and electronics, Richards rarely leaves any sound untreated – small loops of unidentifiable provenance rise up, hang around and collapse in on themselves as delay, and its long decaying half-lives warp their original sonic fabric.
‘Just A Reflection’ is a case in point, a quiet – yet highly dramatic – rumination that feels like watching the unstoppable aging of a person through the lens of a timelapse camera, its clustered tones feeling like an accelerated heartbeat, even as they descend into a murky fog of shadowy, impenetrable noise. In contrast, the album’s opener, ‘If The Surface Is Fogged Up’, has a reflectiveness that bespeaks of fragile hope and optimism, its splintered guitar tones acting as beatific, shimmering, crystalline splinters. The album’s highlight might well be ‘As A Form Of Grace’, a many-layered exploration of guitar melody that has a lightness of touch, even as it is bathed in psychedelic fuzziness.
Richards’ album for Wormhole World finds itself in similarly contemplative territory, containing a triptych of pieces intended to soothe restless minds, yet which are frequently punctured by unanticipated moments of feisty noise. These moments act like distractions, like the clustered, insistent to-do lists that can enter the otherwise still mind of even the most experienced meditation practitioner.
Using a palette of electronics, processed guitar and submerged conversations, Sedative Songs is appropriately named. These pieces are like a warm, enveloping, and much-needed salve, which Richards insists should be best experienced in the dark. If anything, they are more complex than Delay: Reflection, nearing a many-layered almost modern classical state of depth. On pieces like the sixteen-minute opener, ‘Sedative In Spring’, you find yourself following sounds until they dissipate into nothingness, grabbing at the next elusive gesture until it too evaporates into quietude, moments of backward guitar and quiet organ-like drones adding a feeling of inertia and stasis.
Not for Richards the idea of long tones that stretch a melody out over a glacial timeframe: his approach is more dynamic, using ebbing and flowing layers of sonic interplay as a way of achieving the same, and ultimately calming, effect. Listened to as whole, in lightness or in dark, Sedative Songs is a truly beautiful, thought-provoking and necessary record.
Delay: Reflection by Goodparley was released September 18 2020 by Recordiau Prin. Sedative Songs by Goodparley was released November 13 2020 by Wormhole World.
Words: Mat Smith