![cover image](/brain/images/bj_nilsen-the_short_night.jpg)
Though Nilsen utilizes field recordings from a variety of "cold" places (Sweden, Iceland, and the UK), it is never a crutch to fill in gaps in the sound. Instead, it is another pale shade in his sonic pallet, alongside vintage microphones, early analog synths, and modern DSP tools, that constructs a thick painting of frigid landscapes that still manage to ooze a natural warmth. The expansive field recordings that open the disc seamlessly segue into a processed, edited form that coalesce with the high pitched tones, all icy and glacier. Soft tones and melodies mix with a heavy, thick organ sound like the foghorn of a ship far off in the distance.
Other tracks revel in bizarre synthetic textures, the vinyl surface noise like crackles of "Icing Station" and the strange organic rattles of "Finisterre" are both some unknown combination of classic technology with modern processing, and the field recordings are among the few that actually give some sense of life in the barren cold: birds chirping and singing songs within the noisier elements.
Elements of noise, not in the harsh, punishing sense, float to the surface in "Black Light" and "Viking North." The noise sounds not as if it is coming from a distortion pedal, but more the product of the old tape equipment used being pushed beyond its limits. It is a very unique analog form of clipping that sets the noiser elements apart from the more lazy practitioners. Its appearance in "Black Light" is especially effective, as it is the apocalyptic climax to a sprawling piece of bleak, dark ambience with some subtle percussive elements buried deep the misty mix.
The Short Night, despite its singular title, is more of a collection of times and places frozen in space. Each of the tracks are entities unto themselves, and placed together form an excursion into the dark, frigid, and desolate, yet still maintaining a core of warmth and humanity. Unsurprisingly, BJ Nilsen and Touch have produced yet another winner.
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