- Microheart -
Rhythm. Beat. Pulse. Words used to describe cities. Often compared to a machine, a city is also a living organism, both digital and analog. Tim Isherwood distills these elements in the music of Microheart, his sophomore release.
It’s an album of expanded moments. Time, effort and expense are reduced to these moments and examined. Never sure of when they are going to appear, Isherwood remains open to them. He doesn’t so much go in search of them, he goes to be a part of them. Microheart was recorded in and inspired by Toronto, Montreal, Havana and Berlin over a period of four years. Each city provided unique experiences.
While in Havana, for example, Isherwood was invited to a Santeria ceremony to the goddess of the seas, and the influence found its way onto Yemaya. During one of his regular coffee visits to a neighbour’s apartment, Isherwood recorded audio of Fidel Castro from one of his daily three-hour broadcasts that became the basis for Fidel is on TV. The Marquez sisters can also be heard on this track singing El Cumbanchero; a traditional Cuban song fused with Isherwood’s electronic sound.
In an unfamiliar situation Isherwood is only interested in being present. When he sits down to compose the songs these moments come back. And just to keep things interesting it’s unclear where they come back from. Less a direct translation, each moment is filtered through personal experience and the unknown.
Microheart is the umbilical chord to the machine, an organic tether to a digital world. Isherwood uses a CP70 piano with a tremolo effect and manipulates the sound to such a degree as to pass it off as a distorted guitar. The beats are programmed. Analog mixes with digital. The nuances of different cities blended. Words used to describe the stories found in a city: Rhythm. Beat. Pulse. Microheart.