Under the moniker of Celer, American musician, writer, & photographer Will Long has released a staggering amount of material – a wide assortment of drones, soundscapes, sketchworks, and processed loops. No doubt his many followers each have their own favorites, but personally I always find his work most compelling when he creates deeply immersive on-location narratives such as Sky Limits (2014) which presented a sense of daily commuter life in urban Japan, or Two Days and One Night (2016) which wistfully retraced the steps of an elderly uncle’s tragic visit to Tunisia in the 1984.
Long’s preternatural ability to capture scenes and emotions in a kind of musical amber and then turn it into a story comes to the fore again on Xièxie, in which he takes us on a journey from Shanghai to Hangzhou on China’s high-speed rail line. Like a cinematographer who slows fast-moving action on celluloid for dramatic effect, Long turns the journey into a mesmerizing soporific reverie punctuated by scene-setting cues like the bustle of a busy station or the whir of a speeding train. To deepen the immersion, he narrates the excursion in the liner notes with all the eloquence of a novelist.
As we settle into the journey, it becomes intertwined with memory and metaphor. There is a destination stamped on our ticket, but that is only part of the story as Long takes us not only forward, but inwards as well.
Past is prologue to the arrival and the arrival is a prelude to new memorires and even deeper introspections. The trip may come to an end, but the dream goes on and on…
As author Pico Iyer once said, “We travel, initially, to lose ourselves; and we travel, next to find ourselves”. By the time this album drifts to its conclusion, I felt as I had done a little of both. Xièxie nĭ, Will.