Jonathan Uliel Saldanha's Tunnel Vision originated as a score for a cult sci-fi film of the same name that he re-edited and remastered for this release, with a mixing process referred to as "Skull-Cave-Echo." It was recorded in underground tunnels and caves, and was supposedly mixed as a dub record. However, aside from the consuming sub-bass, musically it bears almost no resemblance to any offshoot or subgenre of reggae. There is no sunshine, and there is no dancing.
Listeners should definitely use a speaker system with a good sub woofer or high-quality headphones for Tunnel Vision, because the sub-bass frequencies are a crucial part of these soundscapes. The vocal sample in track two, "Tunnel Vision," lays out a sort of thesis for the album: while the underground world is full of dark, dangerous mysteries, it is also a place where frequencies from beyond our perceptions can affect us.
"Train Tunnel/Crane Dub" sets the mood with an exhausted, reedy groan, almost like Colin Stetson's last living breath being crushed out of him through his bass saxophone. It seems to follow a journey deeper and deeper underground, building creepy, animalistic sounds and reverberating, off-kilter, distant percussion.
There's not really a single danceable beat here (clearly not the point), but even when molasses-thick grooves do materialize, trying to nod your head to them can feel difficult. In that respect, this music is a smashing success at transporting the listener to a heavily oppressive, dark and subterranean quagmire. Whether one finds the experience exciting, terrifying or frustrating will depend on the individual, but if you feel like exploring the depths of your aural consciousness, this one's for you.
(Silo Rumor)Listeners should definitely use a speaker system with a good sub woofer or high-quality headphones for Tunnel Vision, because the sub-bass frequencies are a crucial part of these soundscapes. The vocal sample in track two, "Tunnel Vision," lays out a sort of thesis for the album: while the underground world is full of dark, dangerous mysteries, it is also a place where frequencies from beyond our perceptions can affect us.
"Train Tunnel/Crane Dub" sets the mood with an exhausted, reedy groan, almost like Colin Stetson's last living breath being crushed out of him through his bass saxophone. It seems to follow a journey deeper and deeper underground, building creepy, animalistic sounds and reverberating, off-kilter, distant percussion.
There's not really a single danceable beat here (clearly not the point), but even when molasses-thick grooves do materialize, trying to nod your head to them can feel difficult. In that respect, this music is a smashing success at transporting the listener to a heavily oppressive, dark and subterranean quagmire. Whether one finds the experience exciting, terrifying or frustrating will depend on the individual, but if you feel like exploring the depths of your aural consciousness, this one's for you.
