Jim Haynes and Loren Chasse have collaborated with Keith Evans to create Coelacanth's fourth and most complex record. Culled from two performances -- a 5-hour recording session during Matmos's 96 hours of performances at the Yerba Buena Center for the Arts, and an audio/visual performance with Keith Evans -- Wrack Light in Copper Ruin explores the the symbiosis of materiality and sound, and its infinite network of metaphors and allegories.
Like an abandoned aquarium in which an accidental and incongruous microcosm takes shape, Coelacanth's sound illustrates a constant evolution of decay, encroachment, and repossession of the border space between the natural and the man-made.
With Wrack Light in Copper Ruin, Coelacanth also meditates on the space of performance, the tactile nature of the creation of sound, and its ephemeral, elusive and entirely subjective character. The visuals of Keith Evans further the exploration with their organic, nocturnal, energy.
Comparatively, Wrack Light is more delicate than Coelacanth's previous recordings, inhabiting a space where artists such as Jonathan Coleclough, Andrew Chalk, Mirror, and MNortham can be found, yet it maintains the mysterious, oceanic nature its name implies.