FROM QUAGMIRE - Habitats In The Wound

The world of From Quagmire is one where slowness is blessed by a dark, fascinating sense of abandonment, to which the music's restless branching lends a blinding wonder. One moves through vast, timeless expanses set against a backdrop of blurred edges. "Habitats In The Wound" simply asks that attention be focused, with caution, on the fragile structures holding up the layering of instruments within a stony silence. A sound that nonetheless knows how to exorcise its own fear, converting its mystery into spiritual strength.

The dark side conceals spectral visions (the title track), where the guitar's granular feedback seems to dissipate little by little, with resigned awareness. The impressionistic dynamic conceals the slow but composed agony of a chamber slow-core, like that of "Ingrate", suspended like an enchanted bridge between the guitar's arpeggios and the strings' kosmische drones.

Elsewhere, in “Holiday Song”, we witness the sumptuous unfolding of a pagan ritual; or the play of mirrors in which Dorothy Geller's voice moves childlike between sheets of violin (James Wolf) and chasms of cello (“Between The Chores”); or, again, into painful revelations (“Against The Real”). Small touches of electronics light up the acoustic framework in “A Fathers Vision/Story of Knife”, where the percussion thins out spaces that make room for the trembling voice and the buried wounds of the cello. “Mocking Faces/Wilderness Song” unrolls yet another ordeal of the soul, long and shadowy, moving and visionary. While Vincent Van Go-Gogh's electric guitar warps and heightens the classical-leaning patina woven by the strings, Geller's shimmering acoustic playing stays firmly anchored to a handful of circular notes. Struck with ever less emphasis, these notes come across as the last possible glimmer of salvation within the music's bleak, desperate gasping. And yet, despite this tragic lyricism, From Quagmire's abstract folk manages to convey an oceanic sense of inner peace.

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30/04/2026