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Several notions tie Camera Obscura’s compositions together. They are the results of unrestricted modular studies, deprived of any kind of sequencing, working ways through combinations of LFOs as sole automated rhythmical structures. The focus has therefore been shifted to the textures, the sculptural facets of the synthesis. Isolated harmonies lay on crawling basses; dim low ends are overhung by piercing distortions and echoing glows. The discreet narratives allow for the sightless thrills in the frequencies to be perceived as conscious voices, expressing their own peculiar fantasies.
There is a cinematographic touch to these tracks where the blues is ever present. Coffee and Panthère are soundtracks of nebulous westerns taking place in Southern Asia’s steamy jungles. The Brumes are the products of a melancholic Sci-fi, pictures of a society that went too far and lingers on its last piece of affection. Then Back and Still, as an attempt to abstract late 60s’ vibrations, cranking up the amps to transcode the energy into binary depictions.