Madeleine Cocolas — born in Australia, based in Seattle — has begun a new monthly music series, each track of which is a collaboration with Monolyth & Cobalt. There are two tracks in their effort so far. The series follows Cocolas’ previous “Fifty-Two Weeks” project (see madeleinecocolas.blogspot.com), which took longer than one full year for her to complete, but during which she managed all manner of musical exercises. Like the most memorable of the Fifty-Two Weeks music, the first track in her new series with Monolyth & Cobalt achieves a natural, patient balance between classical ambient music and, well, actual classical music, of the chamber variety. Lens-flare synthesis finds its match in elegant, patiently revealed arrangements for more “traditional” instrumentation. The second track opens with a texture that seems alien to the first one, the rough sound of dirt, of gravel, of vinyl surface noise. That sound, which suggests slow toil and a state of disrepair, underlies an angelic vocal line, amid soft, lightly transformed touches of piano, until closing with a horn like that of a forlorn lighthouse.
Both tracks originally posted at soundcloud.com/madeleine-cocolas. More from Cocolas at madeleinecocolas.com, and more from Monolyth & Cobalt, aka the French composer Mathias Van Eecloo, at soundcloud.com/monolyth-and-cobalt and monolythcobalt.com.