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QUOTES:

John Somers & Liz Meredith
The Disposition of Vibrant Forms, 5 LP Box Set (2013)

“The Disposition of Vibrant Forms is an epic release in every sense of the word.  It’s also quite frequently breathtakingly gorgeous, a recording that rewards spending the time it takes to drink it in. […] Each piece is an example of extreme subtlety, music that works in different ways at low or intense volumes and becomes borderline hallucinogenic through headphones. What can initially sound like a snail’s plodding journey also carries these little dancing tones in clusters, and the ear begins to seek them out patiently. Such minute alterations, like a window’s lights coming on in Warhol’s Empire, occur over such elongated time periods that they accrue a dramatic impact. […] ‘Montebello Lake’ parts I and II suggest late-afternoon sunlight slowly drifting into dusk. Meredith’s viola lines trace long drones that capture that levitating twilight when the sun sets yet the sky remains bathed in light. Somers’ guitar textures get smeared into long shadows, and the piece concludes in a ringing tone of night’s arrival, that reminder that dark has imperceptibly swallowed the sky and it’s time to head home.”

– Bret McCabe, Baltimore City Paper (2013)

Liz Meredith
Liz Meredith s/t, LP (2012)

“Liz Meredith released a self-titled LP featuring two luxuriant, sidelong immersions into subtly shifting moods. Surprisingly, it’s her first proper solo outing and it features two pieces she’s been working over the past decade. This debut is surprising only because it feels like Meredith has become a versatile presence in local avant music, plying her string brio in High Zero/Red Room lineups and delivering hypnotic solo sets-surely she’s set sound to wax sometime before? Turns out she hasn’t, instead spending the last decade impressively honing her skills and ideas: She studied viola with the Kronos Quartet’s Hank Dutt and composition with Fred Frith, the British guitarist who put the wiggy beauty and gnarled thrusts into Henry Cow, the Art Bears, and Naked City. Well, her patience has paid off. Liz Meredith is a gorgeous plunge into a plaintive mood, a place where rising and falling electronic textures and drawn-out viola lines cast soothing shadow plays on the brain. The glistening Side B clings to the ears the longest, the sound of a slow, cinematic fade-out that takes nearly 20 minutes to move from a tight close-up to a widescreen vista, every increment recalibrating the emotional kick of the image being branded on the mind’s eye”.