Think I’m right in saying there’s just 60 cassette copies of this very special release heading out of the Miracle Pond imprint later this week. Arriving days after an ultra limited lathe cut 7-inch for Castles in Space that collects tracks that missed the final cut for the excellent ‘Flora’ full length, ‘Brainflowers’ marks the final outing for the year by Polypores, a beautiful ambient awareness sympathetically stroked in an elegant, moment paused genteel caressing. Just shy of 60 minutes in length, ‘Brainflowers’ is a strangely insular yet all the same expansive dream weave, a journey of sorts navigating ten sonic routes that arrive delicately invested with an ice glowed intimacy and a touching inner warmth opening perfectly with the defrosting daybreak draping of ‘Fractals’ which with its shyly sewn twilight rustics, ushers in a stilled serene both mesmeric and measured of the likes that the Second Language sound house court as a trademark. Both ‘the Great Wizard of the New World’ and ‘kind’ are shimmered in a forlorn frosting, the former a silent moment impacted with a tearful tenseness at once lonely and reflective, cocooned in its own sweet space, a moment of close intimacy forming a blissful connection between just you and your surroundings. The latter, likewise shrouded in a maudlin majesty is framed with an eerie head bowed epitaph like seasoning, touching and emotionally bruising, there’s a sadness and sweet solace splintering from its orbiting core that’s softly lifted in radiant sprays of ice burning flotillas of fanfares whose slow sculptured curvature had us recalling those hollowed aches crafted by both Hood and a ‘dazzle me with transience’ era Tex La Homa. ‘Why on Earth’ lightens the load as it draws Side A to a aleepy close, dinked in lulling showers of bowed arrangements, it shyly wanders and woos into close view, a passing snow draped visitation twinkled and swaddled in a starry kosmick cosy all seductively sprayed in a life affirming jubilant rapture.
Best experienced for maximum effect with eyes closed headphones donned and volume hiked to infinity that way you get float in its demurring folds, Side B offers a more measured, looser and organic approach with the joyful effervescence of ‘Sagan’s Voyage’ greeting the opening proceedings amid a host of peacefully purred oceanic waveforms and modular murmurs that disipate and dissolve with a dream drifting hermetic hush. It’s a similar tact used on the equally arresting ‘glittering enigma’ wherein bathed in airless spectral formations and a minimalist carefree sigh, there’s the recalling of the faintly drawn and clipped classicist overtures much beloved of the Eilean Recs label
a moment paused. Sandwiched between the two, there’s the shyly shimmered opining celestial pastorals of ‘Lelen’ and the porcelain prettiness of ‘Tadpoles’ with its Oriental prayer garden mystique to subdue you not to mention the meticulously crafted and spatial ‘brainflowers’, a lilting lone star trimmed in drift away solar sailing fades. All said though, hands down best moment of the set, the parting ‘dreamshapes’, a farewell call sign of spectral celestial loops and radiating pulsars that pinpoints on the sounds vast sonic spectrum the missed margins between a youthful Eno and Bowie’s ‘Low’ whilst simultaneously tapping into the very heart beat of the great kosmick eternal.