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Track list:
Side A
1 Bedded In Shallow Blades

Side B
2 Repertoire Of Dinless Shifts

Release description:
Since 2005, Celer, the duo of the late Danielle Marie Baquet and William Thomas Long, have released a wealth of ambient material and established themselves as one of the preeminent and best loved outfits in the genre. For the uninitiated, Celer’s aesthetic is glacial, beautiful and devotional. It is utterly devoid of hard edges and culled from a wealth of exotic and traditional instrumentation. The pair’s inimitable sound is the result of careful attention to processing and a keen, quasi-cinematic ear for arrangement and juxtaposition. The source material for the recordings on Evaporate and Wonder was limited to improvised synthesizers and field recordings, but the end results are predictably grand and mysterious, suitable indeed for the promises of the album’s title. Comprised of two sidelong pieces, this record is a perfect entry point into the pair’s wonderful oeuvre or, if you’re like me, a more than welcome audio pictogram that lets us as listeners continue the journey.

Track list:
Side A
1 Opening Titles (Before Morning)
2 Bitter Light and Anticipating a Day Heat (The Isolated)
3 The Spilling; Romantic Goodbye (The Lovers)
4 Meticulous and Exact Methods of an Exhausted Dreamer (A Rooftop Hour)
5 Binoculars, a Telephone, and Fear (The Note)

Side B
6 Intermission (Afternoon, Don’t End)
7 Guiding Lights (Split-screen Comparison)
8 Bass Punctures (The Pressure Urge)
9 Lofty Swells (An Impending Advance)
10 Impossible Escape (The Amicable Understanding)
11 Finale (After Midnight)

Release description:
A few years ago I was commissioned by a film company in California to create a musical score for a film inspired by the Hitchcock 1954 film Rear Window, but with a more surrealist, two-sided viewer plot. As filming hadn’t begun, I was given the screenplay and timeline, and asked to make specific music that might fit with the themes in those pages, which also included an overture, intermission, and exit music. I recorded the music at home and in a studio provided by the film company in Silverlake, California, and finished a week before the first draft deadline was to be submitted. Surprisingly, before I even delivered any of the music, I was informed that the entire project was cancelled. Several years later, the score for the film of the same title is finally seeing the light of day. It is available on vinyl in an edition of 300 copies by the label Humming Conch from Berlin, with cover art by Peter Lograsso.
– Will Long, 2013