With his latest solo album Quiet Pieces initiating his imprint Soft Echoes, Abul Mogard mixes composers and collaborators that have permeated his discography and inspirations. An impeccable sense of flow and continuity defines these selections, as Mogard says: "I imagined this mix as an atmosphere you could inhabit – a quiet weave of pieces I’m drawn to. It’s a sound collage of old and new music, where tracks meet and overlap gently, carrying you along in a flow while subtly shifting the scenery beneath your feet." From groaning ambience to trilling winds and warm washes of glitching noise comes a frisson of flutes on Stefano Pilia’s ‘CADUX / Plectere’ over an all consuming rumbling bass drone. Mogard highlights vocals in the midsection: the hissing of ‘Anticredos’, Meredith monk’s harmonic conterplay with arrays of pointillist vocal notes, Félicia Atkinson’s spoken word barely rising from its quietude, before brewing a dense buzzing electrical storm of swirling currents and gyres with the final few tracks, the rugged and visceral clockwork of Rafael Anton Irisarri mechanically crumbling as William Basinski’s piano notes eternally intone.
