Remote induction

... starts with the flicker of piano notes contrasted by the chatter of rotary film reel. Slowly piano deepens, more serious and solid, building a balance between the sounds until the reel flickers and slight clicks and light guitar work offer the formation of Ser Ni Lena Jag Ser Lena Och Ola. Brief notes playing out, followed by slight percussive dunts and an easy slide into laid back melody. breaths caught in little backwards tracks, triggering vocal sighs and a wavering hum. Maintaining an understated on the whole. Hesitant strings play wire toned notes in Barkfylleoro, precise little intonation, gradually backed by a diffuse hihat and carrying muffled dialogue. A glitch scratch played in contrast to the return of the flickering reel and more voices add to the drift form. Notes play on two levels, quick and light, peaked by deep and slow strings. Little elements becoming more accentuated, giving particulate impressions while filtering the melodic aspects. Extra beat kicks and a greater equilibrium is achieved. Slow fade of particles against persistent string to end. Frihet starts with a conversation, between a man and woman, snatches of dialogue with slight impressions of cuts and repeats. Through this string plays repeated notes and rising, really picking up with the addition of beat track. Agitated conversation with cymbal flashes and taut string work. Down beat then back to a denser, layered form, repeated words caught low in the mix now. Burbling beats give an upbeat feel, matching verbal babble while contrasting the resiliently chilled string. Slow mo vibe comes up from the woven melody, Parisian melody contrasted by Japanese impressions before becoming more frontier to go, with the new vocal stream, gun shots and slow bass flares work with the mood of the piece. The ever present string maintaining a hook into the consistency of Tonefilm even when the filtered putter of tech beats plays up. Reluctance plays with a certain sluggishness a ping sensation to the edge of those beat flares. Then a reprise of the accordion loop, that gives moments of film clips and \"check...\" loops. Stray sound starts Bortom Haver, children and traffic, with a clear voice in narrative role. The environmental track is increasingly dense, equally stray melody starting to filter through to some degree. Jazzy beats play lounge flurry, piano loops playing through this detail in little glimmering flurries. Playing with a suggestive vibe, upbeat patter of stick against rim, piano loops expanding by a bar or two. Hesitant strip down on the way past 5 minutes, affecting a mild shift in the emphasis of the piece before allowing for a doubling of percussive effort. Slow slide of tone brings us De Forgyller Varandras Slot, into which emerges the slow brushes of string work (cello?) mixing with chimes into a nice melody, contrasted to some degree by a light jaunty work and regular cow bells. Rattling beats play along picking up the pace and triggering a solid flat beat, which allows for the rise of piano low in the mix and periodic notes higher in the mix. A slight female sigh can be heard in the flow, an almost \"bebo\" sound. bass kicks in, hard line vibrancy, echo reverberates and the feel takes on a much bigger impression. Piano comes up, gaining flurries, while a voice talks along with it, the beats going further down in the mix, but faster than they were before. Train horn calls as it charges on, the percussion now in regular imitation of the rail long progression, the bells now indicating warning call. Voices clamour and gain domination, bringing about conclusion and moving us along to less agitated background dialogue. Notes play on a low octave, dispersal in their periodic tones while conversation struggles through. Tehn the bass vibrancy is reprised and we have a bustle that is tipped by one note and the piece is over, leading to the low wind tones of Ty Storst Av Allt Ar Karleker, piano and light cymbal taps mixing in with those notes. Wavering in imitation of real wind, backed by an element of melody that weaves through. Worn voice talks along, the voice strong but each sentence suggesting strain. Cymbal becomes the loan consistency, keeping time, while piano wanders through with vague potential and wilfulness. Hard beat plays while filtered sounds play a static fog impression, through which the previous wind/melody returns. Agitation contrasting with smooth melody, which is one of Tonefilm\'s strengths - the combination of elements to create a bigger mood. String flurries take over this piece, picked and considered note work, perhaps harp like, more likely acoustic guitar. Voices play as waves, rising to the centre of the word and dipping at its end. voices layering in cryptic conclusion. Scratching rasp sounds and little hand claps start Crescendo off, jaunty piano playing wave melodies through this enthusiastic organic percussion, more human beat box sounds coming in as the piano gains body. As it reaches its so called Crescendo we return to where we started with the last piece that is Efterspel, which I guess might translate to something as \"end spool\"? Regardless the reel plays, rattling turns, which slow, wistful plays through. The reel constant and invariable, while the piano disappears for sections, before struggling to resume. Casual beauty is on display with this piece, another one of the themes passing through this narrative. As Tonefilm reaches an end and the credits roll, one can only sit and reflect on how enjoyable an experience this was - drama, conflict, startling emotion, and no doubt as suited to the big screen as it is to home viewing...