Released by Sic Sic - 2015 - www.sicsic.de
Recorded sporadically between 2007 and 2014
All music by Dylan Golden Aycock
"Blindsight challenges the common belief that perceptions must enter consciousness to affect our behavior; it shows that our behavior can be guided by sensory information of which we have no conscious awareness."
Soundtrack to a recurring dream.
released June 17, 2015
Talk West describe their new release Blindsight as a “soundtrack to a recurring dream” and totally earns the description. Aside from two bookending standalone tracks, the rest of Blindsight is dedicated to a single song suite. Titled ‘That Dream Again’, it stumbles in at ‘Part 2’ and follows a slippery non-logic until finishing at ‘Part 10’ with little closure — what dreams do after all? It makes for a neat concept, but also gives Talk West an excuse to change up styles with little commitment to what came before. The sun-drenched organ hum of ‘Part 4’ only lasts half a minute before the watery percussion of ‘Part 5’ leaks through, followed by a grim guitar meditation in ‘Part 6’, and so on. It makes for a dynamic listen and one that benefits from multiple trips; after all, there’s a reason it’s the soundtrack to a recurring dream.
Interestingly, though Dylan Golden Aycock oversees the Scissor Tail operation, his Talk West release Blindsight appears on the cassette label SicSic—perhaps he felt its occasional synth-heavy focus rendered it inappropriate for Scissor Tail. No matter: the material, which Aycock recorded between 2007 and 2014, is refereed to as a “(s)oundtrack to a recurring dream” and very much possesses the kind of trippy explorative sensibility we've come to associate with modern-day cassette releases. There are eleven tracks in total, nine of which constitute parts two to ten of “That Dream Again” (for whatever reason, part one doesn't appear). It's the release's understandable focal point but not simply because it takes up the majority of the total time: it also wends far afield stylistically, with many parts inhabiting zones dramatically different from the others. One's a fleeting synth reverie (four), another a mini-soundtrack for a Moroccan opium den visit (five), and others electric guitar-based vignettes (six, eight). The piece's high point, however, is arguably part nine, a lovely floating ambient meditation built from chiming electric guitar and pedal steel. The recording's thirty-one minutes sometimes have more in common with Boards of Canada-styled material than anything fingerpicking-related, especially when synthesizers are used so plentifully in these warbling reveries of pastoral, dream-like design. That being said, there are also a few guitar-centric pieces that wouldn't sound out of place on a Scissor Tail release.