Eleven Twenty-Nine – Eleven Twenty-Nine

If you have access to a room with a wood floor and a large window that faces the southwest, you need this album. When the sun reflects off the leaves or branches onto the floor or furniture in the afternoon, that’s the prime time to play this album. Now, ideally, you turn this album on, and you leave your place, it’s that kind of vibe. It’s the kind of music you need your place to psychically acclimate to first, then after say, four or five times of playing it for your place, you let some time pass. Four months later, when you’re doing a cleaning of your place, you’ll spot this album, and you turn it on, and just lie down. Try to empathize with the sun on those days when you first played this album for your place.
Every song on this album eventually sounds like it’s been refracted through the prism of the Fripp/Eno tune entitled “The Heavenly Music Corporation,” and this is infinitely great. The songs are entitled various things, including, though not limited to, “Eyes on a Cabbage Head.” Two people, Tom Carter and Marc Orleans created the music of which I type, formally defined as Eleven Twenty-Nine.  Numerologically, you have your “11” which is “2,” and then you have your “29” which makes “11.” “2” and “2” of course gives us a grand total of “4,” and like the waltz taking place on streets throughout North America, it’s hard to articulate precisely in this dimension what the “deal” is, with all this quantification, so when you play this for your place, maybe ask your place and if you’re able to do that, then you probably already know. (Northern Spy, northern-spy.com) Richard Altman

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