Following in suit to last week’s post, we now delve into a pair of releases from another shadowy figure among the Pacific Northwest experimental underground. Amir Abbey, the name behind Secret Pyramid, has steadily developed his solo project since its humble beginnings roughly eight years ago. At that time we saw the fallout of his band Solars (his two man psych-drone outfit with Daniel Colussi) and the self released Ghosts cdr. The reason behind the Solars break-up remains opaque at best, but, nonetheless seemed to light a fire under Abbey to aggressively pursue his own sound.
In Abbey’s musical pursuits he’s accomplished multiple releases on Cincinnati’s Students of Decay label, and has performed not once, but twice at Montreal’s Mutek. According to the artist, the forthcoming Secret Pyramid album, Two Shadows Collide, is finished and will be released sometime this summer. For now, let’s look back at the two part (thus far) Distant Works series from the Secret Pyramid oeuvre.
Secret Pyramid – Distant Works I
On the bandcamp page for Distant Works I, Abbey describes the album as a more minimalist approach to his 2011 release, The Silent March. The material here came from the same sessions as The Silent March, and is composed of analog tape loops. Not surprisingly, the opening minute brings to mind the work of William Basinski – particularly his lesser known but fantastic album, El Camino Real. Where Camino meditates on a single loop for close to an hour, “Distance 1,” the tape’s A side, slowly meanders through a series of looped vignettes. Vignettes are strung together, but the transitions between them are nearly undetectable, swallowed up in the gravity of the overall movement of sound.
“Distance II,” while not a monumental departure from the opening side, does see a change in focus. The piece builds from an inaudible beginning, gaining momentum with swelling guitar permutations and rising amplitude. To work as well as it does, a piece like “Distance II” could not exist without a certain level of ambiguity. Similar to Secret Pyramid’s other albums, the sounds herein exist in the sweet spot between over-contextualization and lack of intention, where the artist’s hand is present but never weighs all that heavily. On Distant Works I we are presented with a familiar drift, but one with intention and a sense of movement behind it. Even the most minimal music needs to take the listener somewhere – whether it’s to an open field or along a path – and this understanding is what edges Abbey’s work in front of plenty of so-called ambient musicians.
Secret Pyramid – Distant Works II
Last year’s Distant Works II is Secret Pyramid’s most recent album, and shows a staggering diversity of sound compared to past work. Where previous releases saw mostly tape loops and prepared guitar, Distant Works II opens the Secret Pyramid netherworld to a range of sources that include piano, strings, synths, field recordings and an early electronic instrument know as the Ondes Martenot (similar to a theramin in sound, the Ondes allows for the player to seamlessly glide along pitches using a ring that is worn on the right hand. The ring is attached to a string and sits horizontally in front of a keyboard).
To a piece of minimal music, a more diverse palette of sound sources can be as devastating as it can be enriching. Luckily, Abbey, who at this point would certainly be aware of the shortcomings of overdoing it, shows plenty of restraint with his new toys. Rather than the side-long slab approach, Abbey chose to break the album up into seven movements. The three tracks that are under two minutes here gingerly trod new sonic territory for Abbey, incorporating field recordings of wind and rain that sound like they’ve been given some tape treatment. This also includes the opener, clearly featuring the above mentioned Ondes, giving the album a distinct – though ultimately brief – touch of cosmological new age.
It’s the album’s two longer tracks that steal the show. The centrepiece, “IV,” has a backbone of one of Abbey’s cleanest synth drones, but soon corrals familiar tape hiss alongside wavering, distorted tones, whose source one can only guess at. “VII,” the final movement, is one of Abbey’s finest tracks to date, striking a perfect equilibrium with the rough-hewn elements of his sound and another spellbinding loop. In an interview from April of 2014, Abbey mentions how he’s gradually becoming more and more comfortable with the recording process. With comfort comes confidence, and if Distant Works II is a precursor to the trajectory of Secret Pyramid’s sound, then that confidence is only going to make it stronger.