|4||Marmara Beach II||1:19|
|6||Wild Beast Research||1:40|
|7||Violins In Waterstone||6:20|
|9||The Real Thing||6:57|
On Multi Natural you get acquainted again with Christina’s organic chamber music. Yet these nine tracks somehow feel different.
Nine composed chambers. Nine rooms. Rooms to inhabit. To inhale. Constructed out of elements that are slowly...It’s a warm day. The sun and heat bouncing off the black rocks... fusing. Here in motion is a string of semi constant metamorphosis. A gesture appears, is elaborated upon—or is halted and replaced by a new gesture. Multi Natural has multi focal points, quite dissimilar to Christina’s other works that tend to have a more linear path.
Within this album lives a composer who is not afraid to let the content take over. In this, obviously composed work, there is still a large space for all those sounds to act freely. It is almost like Christina is waiting for the music to compose itself. This technique speaks of respect and trust for the listener, since it gives the listener freedom to personally connect the lines.
When you put the needle on this record, everything turns to stone—pahoehoe. The music flows and nurtures. Sounds that come from various realities—molded into a mutual understanding. With each spin, new events catch the ears. Like looking at a landscape, perceiving new details close and far with every gaze.
Somewhere the invasive Coqui frogs sing their beautiful staccato. A sound echoing annoyances with local farmers. But ... And before you know it, you’ve reached the end of the record. Showing another quality I so much adore. The act of playing with time.
Yes, when Christina warps both time and space for you, it comes to you as a gift.