In the flow of traffic / The family cars, in the dim / Sound of the living / The noise of increase to which we owe / What we possess. We cannot reconcile ourselves. / No one is reconciled, though we spring / From the ground together—”
Retrieval is the debut collaborative album from Faith Coloccia and Alex Barnett.
Visual artist, musician and composer Coloccia was a founding member of experimental group Everlovely Lightningheart, and is perhaps best known as one half of Mamiffer (alongside Aaron Turner, with whom she also runs the SIGE label and publishing imprint). She has contributed to recordings by House Of Low Culture, Boris and William Fowler Collins among others, and collaborations with Circle and Daniel Menche are forthcoming. Her work has appeared on such labels as Hydra Head, Daymare, Conspiracy Recordings and Profound Lore.
Alex Barnett played in Oakeater but since 2009 has been active primarily as a solo artist, with releases on Catholic Tapes, DRAFT, Nihilist and others. Most recently he contributed to the Mamiffer/Locrian record Bless Them That Curse You.
Barnett and Coloccia are separated by two thousand miles; nevertheless this record was born primarily out of condensed in-person meetings rather than penpal file-trading.
Following an initial exchange of ideas, the bulk of Retrieval was recorded over three intensive days at Otic Sound in Vancouver, with Coloccia contributing treated vocals, tape-manipulated acoustic recordings and AM radio sounds, and Barnett adding an array of synth instruments to create further loops, drum sounds and other rhythmic elements.They then reconvened at AVAST! studio in Seattle for a final session of mixing and editing with engineer/producer Randall Dunn.
The resulting LP is about time and place, synthesis and environment. It’s an invitation into the woods, to find that which reveals itself only to the lost. A grave, deeply introspective work, pastoral in essence but cosmic in scope.
Opening with the stately, medievalist sequences of ‘Harbor’, Retrieval‘s narrative takes in subdued techno abstraction (‘Hallway’), chrondritic psychedelia (‘So, How Much Do You Know About Me?’), saw mill gear-grind (‘Repeating Pit’) and eldritch noise invocations (‘Retrieval’, ‘Bird’s Eye’). Throughout, it invigorates without consoling.