Kyle Clyd – ‘Eaux’

Posted by on June 15, 2017

eaux

Artist and composer Kyle Eyre Clyd was born in Louisiana, raised in Alabama, and now calls New York City her home. About a decade ago, she “began her solo noise project using unclaimed electronics left behind at her residence, Brooklyn’s Silent Barn,” and has since performed at spaces such as Issue Project Room, and rubbed elbows with the likes of perennial mischief makers No Neck Blues Band, whose Keith Connolly released her solo vinyl debut in 2014 — the stunning Pale Dawn Creeps LP — on his own Halatern Etc imprint. On that album, a clever juxtaposition of instrumental music and field recordings, she encouraged her listeners to ponder the transient phases of the day: dawn and dusk. Fans of most of the material released on Kye Records will be drawn to these crepuscular emanations.

Prior to the appearance of her sounds on wax, Clyd self-released a small handful of cassettes via her Trepanner label, and has since returned to that magnetic medium with Eaux. Arriving courtesy of Ultraviolet Light — an imprint helmed by Baltimore wunderkind Jimmy Joe Roche — this tape finds Clyd fusing her own synthesizer performances to mixer feedback and field recordings. Fellow musicians offer up their skills for Clyd to broaden her already expansive palette. The four tracks on offer feature percussion samples courtesy of Chris Robert, accordion & bass flourishes performed by Peter J. Bowling, and Keith Connolly’s skeletal guitar. Equally oblique and engaging, the music on offer is both pleasurable to consume and ripe for considerable contemplation. Deep listening is highly encouraged.

Ultraviolet Light sells their wares via their website, so point your browser in their direction and click away to obtain this uncanny miasma of sound.