Moving Furniture Records

Tongues Of Mount Meru - The Hex Of Light

After years of silence the the duo of Lasse Marhaug and Jon Wesseltoft return with their duo Tongues Of Mount Meru.

After 10 years their new LP The Hex Of Light two new works recorded in 2013. 

The two pieces reflect into each other. Both stringent and close-knitted with microtonal frequency interaction, with a slowly unsettling shifting movement. 

The Hex Of Light

Tongues Of Mount Meru is the duo of Jon Wesseltoft & Lasse Marhaug.

Jon Wesseltoft is a versatile electronics composer and musician, having worked with noise, electro-acoustics, improvisation and experimental sound-work for over 20 years.
Lasse Marhaug is an experimental musician, improviser and composer with a long history within noise, improvisational, and experimental music with numerous releases since the 1990’s. He is also a producer, graphic designer, label head and publisher.

Wesseltoft and Marhaug started Tongues of Mount Meru in 2008 as a way to explore their mutual interest in long-form music, psycho-acoustics, and the phenomenology of sound, and its correlation to perception. Their work as Tongues of Mount Meru is characterised by a stringent and multilayered flow of sound information, with an almost hypnotic quality. This is music that at times is clean-cut and saw buzzing, and at times lucidly beautiful, but always in demand of the listener’s full attention.   
This music was recorded in 2013 and consists of two pieces that reflect into each other. Both stringent and close-knitted with microtonal frequency interaction, with a slowly unsettling shifting movement. Both pieces gradually blooming within its own sonic time-space, to reveal microscopic movements in tonality, binaural beat patterns and ghostly strata of overtones.


Norman Records
 9/10 Ant 27 February 2020

I always felt like Tongues Of Mount Meru’s 2009 ‘The Ocean Of Milk’ LP on Important Records was underrated. I zoned out to that record a LOT when it came out so I was totally psyched and even cracked a smile when I discovered Jon Wesseltoft and Lasse Marhaug were droning once again (I never did cop the two tapes they did) with the magnificently titled ‘The Hex of Light’ on Amsterdam’s Moving Furniture Records. I’m pleased to report back from a higher state of consciousness that it is indeed a spectacular light show behind the eyelids. A truly transcendent, psychedelic work of well-tuned dream theatre eternal music to realign your chakras once and for all. Submit to its power and transcend the boundaries of your primitive human form. All true drone fiends – come into the light.


Vital Weekly
Lasse Marhaug is surely a name known to all readers of Vital Weekly. Staggeringly active as a musician, book publisher, graphic designer, film maker, zine writer/editor and probably even more than that, Marhaug is most often associated with harsh electronic noise. However, he’s also not one to rest on his laurels… or, as far as I can tell, to rest much at all. Tongues of Mount Meru (just one of the myriad bands/projects he’s part of) is his long-running duo with Jon Wesseltoft, and it’s far from the blistering assault that one might expect from either artist. The album fits onto two sides of an LP, but I could imagine that these are two slices from within much longer pieces…
and not necessarily slices that start at the beginning. They sound like they’re carved out from the center of two hour-long tracks, but we only get to hear 19-minute extracts. Both sides are slow-moving cascades of shimmering texture, dense with layers of microscopic movement. There is no lead-up; the moment that side 1’s monolith “Foliage” begins, the listener is dropped into the furious eye of a crystalline ice-storm already in progress. Dissonant chords hover in and out of focus and a threatening saw-like buzz constantly peals at the music’s edges with competing rhythms. I’m reminded of Phill Niblock’s vertical drone pieces, forceful and confident minimalism at maximum volume. The second piece, “Affinity Birds”, is another side-long mantra that begins in medias res and is just as merciless as the first side. Elements begin to drop out after eleven
minutes of boiling syrup and a warm resolution seems about to coalesce… but it never quite resolves. Marhaug and Wesseltoft twist the knives as they near the finish line, transforming the textures into a sharply aggressive climax before dispassionately cutting the thing off. 
No happy ending here, just a hard stop. (HS)



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