Review Summary: Matthew Cooper and Charles Buckingham struggle to make their experimentation accessible.
Concert Silence is a collaboration between Matthew Cooper (of Eluvium fame) and Charles Buckingham, and
9.22.07 is the least Cooper-sounding project of them all. Perhaps this is due to the influence of Buckingham, or because of the album’s experimentations in “live-sound manipulations.” Whatever the case,
9.22.07 is a different sound for Cooper fans. The album strays away from the ambience of Eluvium and moves toward a glitchier aesthetic. The overall soundscapes of the record still remain ambient, but the start-and-stop glitchiness seems to interrupt the atmosphere. It’s almost as if the duo knew this was the case, because almost every song crawls toward its ending with elements fading out, often leaving the backing ambience to hang in the air as the tracks come to a close. It’s important to note that the songs frequently do
crawl to a finish. The album as a whole creeps by slowly without many chord progressions or overall movements to allow it to flow effortlessly. An occasional burst of glitch will appear and fade again, or a piano will join the sound for a few notes and leave, but
9.22.07 too quickly becomes a chore to listen to.
Regardless of its faults,
9.22.07 is still an extremely interesting endeavor. The album feels truly experimental, and I applaud Cooper and Buckingham for exploring new territory. Throughout the six tracks there are seemingly “live-sounds” heard mingling in the background. Winds rushing through a tunnel, a car passing by, or the whisper of grass as it is rustled by the breeze are all sounds present on
9.22.07. Electronic blips and bloops often accompany these sounds, with brass and string instruments making appearances as well. This “live-sound manipulation” is a refreshing display of innovation as the duo seeks to push the boundaries of what constitutes ambient music.
Overall, Concert Silence’s
9.22.07 is a convoluted release. The album’s lack of flow challenges its innovation, and despite Cooper and Buckingham’s valiant efforts the music has a tendency to sit on itself. The experimentation found on
9.22.07 is a welcome thing in today’s somewhat stale music industry, but the album's regrettable inaccessibility is not. I look forward to another Concert Silence release, but here’s to hoping it seeks a way to counteract experimentation with listenability.
