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David Forlano
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David Forlano Kyle and Rhonda express sound here with an enormous amount of sensitivity. They both are clearly in full control of the most subtle sound events with their instruments. The collaboration feels perfectly matched. An adventure of curiosity from these two stellar musicians. I absolutely love the first track, Arcane Saws. Favorite track: Arcane Saws.
Paul Mimlitsch
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Steve Meyer
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  • Full Digital Discography

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    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of chaos theory, AFTERPARTY, SEPULCHERS, NTH, Vol. Three, NTH, Vol. Two, NTH, Vol. One, Necropolis, and Nocturne. , and , .

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1.
Arcane Saws 08:42
2.
Sin Eater 11:19
3.
Sepulchers 09:15
4.
Gnashville 09:56

about

Following the tone set by the title, the music on Sepulchers is somber, slow, and almost morbid. Long, quiet gestures prevail throughout, expertly recorded with a level of detail that forces the listener to confront the music up close. We can hear Kyle Motl’s bass and Rhonda Taylor’s saxophone, but we can also hear their bodies – their fingers, their lips, their breath. Sometimes it’s hard to tell which is which, which I take to be part of the point. The instruments and the bodies bury and exhume each other, so that you can hear this recording as a document of instruments entombed in people, or people entombed in instruments, or just
music making its way to the surface, inching up through centuries of human-instrument sedimentation.

Amidst these notes of the hereafter, Sepulchers wears a wry smile. If it’s a tomb, it’s the most delightful tomb possible, one whose inhabitants are at most half dead. Perhaps they are former monarchs deposed and executed, grinning up at the clueless priests who had them killed, knowing that they’ll soon return to toy with the living. Glimmers of familiar musical features – tonality, melody, musical storytelling, communication, all those things that critics sometimes call “expressive” – appear fleetingly, made strange and obscure. The uncanny
quality of this music, though, is not in its novelty or otherness – though there are plenty of novel sounds here -- but in its weirdly darkened renditions of well-known things. It might take you a while, for example, to figure out just what is so unsettling about Arcane Saws – until you figure out that it is largely in C major. But it’s a strange C major, a pale, spectral reflection of the one everyone knows. As worms and roots for flowers and fruit, this music offers a penumbral vision of everyday beauties uprooted and exposed.

—Tobin Chodos

credits

released August 3, 2020

Rhonda Taylor: baritone saxophone
Kyle Motl: contrabass

Recorded July 9, 2019 in Las Cruces, NM

Recorded, mixed and mastered by Kyle Motl

Cover design by Kyle Motl

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Rhonda Taylor Las Cruces, New Mexico

Free improvisation from the middle of the desert.

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