This week we’re bringing you another of our classic Hypnos releases – M. Griffin/ D. Fulton’s ‘The Most Distant Point Known,’ low-priced at $5.99 through July 20th.
The first collaboration between Griffin (Hypnos founder and determined minimalist) and Fulton (Dweller at the Threshold co-founder and now-leader) is broad and spacy sonic vista, yet quite listenable — different enough from previous Griffinmusic and Fultonmusic, yet working in generally familiar territory. Combining deep, churning drones with analog sequencer loops, THE MOST DISTANT POINT KNOWN is a deep and ever-changing collage of shifts and patterns.
“…a very powerful, deep, rich piece of work. Distant Point is one of the most remarkable releases i’ve heard in a while!”
–Lance Green on the Space Music mailing list
“The Most Distant Point Known by Mike Griffin and Dave Fulton is a lush treasure.”
–Bill Fox, host of Emusic Radio, WDIY
“INTERSTELLAR AMBIENCE, PAR EXCELLENCE:
Tectonic” opens with the sounds of thruster exhaust coldly searing the invisible flesh of space, a scar etched in sound. Warm, rumbling drones offset the icy, cauterizing burn, while sparse synths tattoo tribal designs, the nucleus of which is more extraterrestrial than earthly: minimalist sketches of sonic mysteriousness. “Dark Observer” maneuvers thick, dark pulsing drones underneath synths wielded like sabers, slicing through light years from tip to handle. The four part “Quadrature,” slips the cosmos into a transparent box, each corner and every arching synth riding the ridge of the unseen geometry through black holes of echo, bellowing plasma volcanoes (essence of the primal whirlpool), crystalline spires that sing as they shatter, and cool, humming isolation. Mike Griffin (founder of the Hypnos label , Viridian Sun) and Dave Fulton (Dweller Of The Threshold) venture into the vast reaches of space ambience, utilizing drones and looped analog sequencers in the process. This distinction keeps the more prevalent swirling dynamics at bay, steering the ambience in a straighter line (though not purely linear, it is more about getting from point A to point B), the ambience made to surge instead of meander. The use of analog sequencers, lending a fuzzy, lightly distorted quality to the proceedings, really enhances the experience. Excellent work!”
–JC Smith, Outburn Magazine