Originally released by Audiotalaia (www.audiotalaia.net/2019/04/at094-david-area-shoganai.html)

"¿How to achieve a timeless and idle momentum just by using sound? How to sustain almost till infinite a sonic scan of an instant? How to shift and tweak an endless tone in milliseconds and still feel timeless? And on top of that, how to achieve all of the above without carbon-copy what others have been doing on that same field? All those questions are unintentionally being answered, intuitively, on this expansive stroll though the confined space of Shoganai, the latest album by David Area.


Is impossible to tear apart the sonic concept of Shoganai from the idea of extension and vast development. Because that stillness, that non-movement requieres, space, density, and expansion. It requieres silence, pause, breath content before, during and after. It requieres a slow exhalation, with the shape of audio, with minutes of transit ... A Radigue-inspired flow, consequently reverentious to Elianes legacy. Maybe its through the stroll that David takes, were it lies that specificity, that uniqueness of his labour. Beyond the drones and the different densities, a constant variable draws itself a straight line, an invisible path under a magnifying glass oscillates, vibrates, mutes goes under and overground unearthing deep and profound emptiness of envelopes ...


On the last few months I have witnessed the creation of "Shoganai". I have done it as a complice listener, hearing and evaluating, and even sometimes (a few), advising. I known David since a few years and I have always known about his talent, this time I've discovered a new David Area, one that starts working in his private studio and sumerges himself into the sonic spiral that his music is. And that's just been confirmation of something I was already certain. And this is that, as a matter of fact, there is raw talent within David, an understanding of sound as a physical matter passed through its array tools where sound matter circulates and by passing by is being filtered, EQed, gain adjusted, reverberated and delayed into a vast field of amplitudes, lengths and intensities. Overall, a handcrafted and static process of work that has the mixing desk at the core center of the workflow.



From this process, four pieces arouse to shape "Shoganai". The word, a Japanese concept that describes that acceptance of what we cannot change or avoid without the slightest feeling of resignation. The term is also tided to another concept "Gaman" that encompasses the idea of enduring the apparently unbearable with patience and dignity. Effectively, "Gaman" is the title given to the three-first pieces of this album, a low levitation effortlessly being non atmospheric or ambient, secretly trying to hypnotize the listener glazing straight to the speaker cone and tiding ears into decomposed frequencies.


The more than 45 minutes that shape "Gaman" fed from one single stream of sound and a starting point, from there, it expands through parallel territories that never quite meet each other. In each part, a single tweak has been used to makeshift a change in sound that differs from the others. The pieces induce the listener to states of sonic inmersiveness through slight shifts in iterated vibrations and the subsequent alterations of those, like phases of a dream repeating itself once and again.


The end of the album is a microscopic sonic big bang that comes at hand with the last piece, "Shoganai". A 27 minute long piece enduring a faint-less fracture of the structure of the pieces that advances, tirelessly flowing, towards its own end in silky waves of noise. Somehow, it all breaks loose from its dimensional physicality and palpable sound, it fractures, but always lead by this idleness as a territory and as a script.



Mesmerizing inmersiveness is what comes to my mind after the deep listening of this album. It's been hard writing about itself. Is not easy at all, trust me. The hypnotic entity that surrounds the committed listener, the power of capturing attention and the disintegration of the mathematic pulse of time is such that one forgets how to write and simple embraces the sound around myself. 
"

Javier Piñango
(Free-translated by Edu Comelles)