Quiet Money introduces the patented Viewers unsettled space perfectly. Hearing an Army then races away or toward that danger. Human folly or fugitive action. The title track has some exquisite low, sustained notes that expand out into the listening room. I love the muted tuned percussion in Shadow War that seems to emanate from another plane, such as an adjacent room or even building. The acoustic spaces in this piece are all over the place yet the arrangement is unified to my ear. Electronics are ideally blended for mystery with the upfront winds.
In Still We Laugh, I enjoy the relentless dbl bass line that propels the opening. It's the "running" conveyed sonically. Very effective wait for the drum kit entrance, followed by diverse voices delicately placed and interacting, then dissipating. Crowd Figure sends some perc notes flying well out of the speaker confines. Huge upright bass notes (which I count on with The Viewers) arrive midway and are joined by a persistent dialogue of unease. The notes are meticulously placed. I love the voluminous piano sound at the opening of Fictioned Future, returning in Treasure Guard.
The noise generator deftly sets up a quiet yet oppressive scene in Dead Paper. Rapid, nervous manipulation of bass strings builds on this, as well as the beautifully recorded, granular bowing. The Room is a real favorite with the higher range bowed string effects that seem to be chorused from multiple, unknown sources. Then Treasure Guard (a great title)... I enjoy the rich piano sound and this voice's dialogue with the bass.
Repeating, multiple-voice horn statements (with interesting variations) contrast the agitated freer playing. This is a characteristic throughout the work: very deliberate, fixed parts construct the urban landscape within which the unpredictable, emotive wind agitation occurs. A very effective mix. I was immersed, as always. Thank you for the opportunity to visit the Viewer's dark, unnamed corner of town. Looking forward to the next!
Bill Sharp (Biota)