Stunned no. 7

Super Minerals — The Pelagics (Stunned no. 7) — out of stock —

A new age slowburner that leads the listener on drone-descent through the five classified depth zones of the ocean – the pelagics. The deeper the Super Minerals duo dive, the stranger their field transmissions and creature encounters become. Whale moan symphonies, sonar decay, poisonous urchin, squid in telepathic sex-trance, underwater lava, and the bones of our ancestors who fought for their land over the face of the sea. Among Minerals’ most expansive sessions yet, and the third official chapter in their devolutionary cycle following sold out tapes on NNF & DNT. Ltd. 50 hand numbered cdrs in polyvinyl sleeve with color insert.
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reviews:

"Alien guitar-blip attempts at a human perception of melody, held face down to slowly drown in a viscous flow that cuts a hazed soundscape of a painfully met afterworld." — Vitreous Opacities
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“Photic” begins the disc with 11 minutes of Giacchi’s contemplative, glistening guitar tones that just sort of revolve in space like a bejeweled mobile dangling in a cathedral far off the grid. “Mesopelagic” mutates metallic sonorities into mournful whale bellows for some anti-new-age, ambient agitation. “Bathyal” (the shortest track at 8:47) recalls some of Bardo Pond’s aqueous space-outs in which time seems to be suspended and the whole world appears to be enclosed inside a tolling bell. This music is dazed and glazed, and I wish it would go on for days. “Abyssal” is fainter, its attenuated drones seemingly emanating from a seashell. This effect lends the track an alienating poignancy. The 18-minute closer “Hadal” sounds like a lot of the beatless soundscaping issued by the Kranky label (Christopher Bissonnette, Tim Hecker, Lichens, Loscil, Stars of the Lid, etc.). Forlorn foghorn moans, distant wind chimes and faraway chants coalesce into a threnody for Earth’s bodies of water. It’s deep—maybe too deep." — OC WEEKLY
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"I think that this cover is very fitting, because while this is a nominally ambient record, there is quite a lot of activity to be had here. Indeed, the sounds evolve throughout, you'll hear themes expanded upon, often until they dominate the scene, only to be subsumed by tiny sounds that were developing off-stage for part of the time. Each point of the pieces is different from the previous one, yet there seems to be a seamless transition from moment to moment. This is quickly becoming my favorite ambient record of the last few years." — Killed In Cars
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"Possibly the first “studio” release of the lot, ‘The Pelagics’ is themed for oceanic layers graded by descent: beginning with the sunlit ripples of “Photic”, the stringed whelps of avian life and the strum of wave-shadows wash over in a soothing tide, impressing the wonderful tension between sea and sky, a commitment to light or a commitment to depth. Retaining its conceptual stratification, the track floats supine, tilting just slightly in its final anti-climax before abruptly delving to the “Mesopelagic”, a further step down toward watery abstraction. The puttering drone of this segment blends easily into the murkier wash of “Bathyal”, an experience on par with the prior for its higher registers and bold vocal insertions which compensate for the compounding content pressure. “Abyssal” rightfully depicts the entropy of the widest band, revealing not shapes but the agglomerated movements of shapes in a thick slurry of water-logged sounds - a sharp distinction to the cavernous void of “Hadal”, the final and most exceptional region, emitting a groaning vocal pair and shimmers of piercing chimes (bubbles? Hot fucking lava??) trickling upward in a slow-burnt simmer. A nice concept and even better execution, the pair display an early affinity and sureness of hand." — Animal Psi