Skullmarks begins with each of the musicians building their parts from cycling motifs which accrue into a collective coursing pulse of free beating overtones. Sliding electronic whistles and yowls, and low-end shuddered rumbles enter in to break open the sonic field, creating a particularly effective section with Butcher’s keening soprano playing off of the natural delay of the hall.
In his liner notes, Davies references the relationship that musicians have with the “objects” of their instruments and that physicality of the instruments comes through as well. Over the course of the piece, the rise and fall of densities and dynamics creates a captivatingly immersive listening experience.
Point of Departure - Michel Rosenstein.