R2 – Radiant Husk – “Micromegas” CDr

  1. Moss St. – 5:27
  2. Minna St. – 4:01
  3. Russ St. – 5:14
  4. Natoma St. – 5:18
  5. Langton St. – 8:23

Seeing Matthew Erickson perform live is an impressive experience. The sound he gets by blasting his saxophone through his Fender Twin literally shakes you to the core. Erickson has a great ear for experimental music; exercising tasteful timing and restraint, which I am finding to be more and more important. Whether performing in the sax-guitar duo Sudden Oak, or solo as Radiant Husk, his sonic presence has earned the respect of many.

“Micromegas” is a collection of live improvisations recorded in San Francisco before his departure to St. Louis. The album titles are street names near his recording/practice space, making it a memoir-esque document of his time in the Bay. What a lovely place.

The pieces are soaked with nebulous tenor saxophone, who’s layers build and build, inventing a storm of tape saturated drone. Many of the songs are loop-based, slowly slipping out of orbit – forming allusions to minimalism. However, “Micromegas” contains a fierce spirit that minimalism can often lack. The album is bookended by hypnotic chord organ pieces, which are particularly enchanting. Another strength of this album lies in it’s sense of completion, the finished product has a strong identity. This could be your “go-to” contemporary sax-drone record, it certainly is mine.

-Sean McCann / Recital

February 2012

Hand-numbered & Stamped edition of 200. 

Sold out

Press

“Hand-numbered edition of 200 copies on Sean McCann’s new Recital imprint that sees Radiant Husk aka Matthew Erickson of Sudden Oak laying out a series of wild overdriven saxophone drone pieces bookended by a pair of stately, almost Nitsch-esque chord organ works. Erickson works by looping and overdubbing saxophone lines that range from single Industrial fog-horns to smoky blasts of vibrating brass in a way that comes across like Barefoot In The Head as re-worked by Terry Riley for maximal all-night flight potential while at points recalling the composer Ingram Marshall’s eerie recordings of San Francisco in the fog. Imagine Roxy Music reduced to nothing by Andy Mackay and Brian Eno or the Sauter/Dietrich frontline after way too many psychedelics recorded in a natural amphitheatre several miles beneath the surface of the earth and you’re close to the kind of fantasy territory this major side traverses.” – Volcanic Tongue