Recorded and mixed by Kevin Doria at the little blue house, Olympia WA, November 2014
Mastered by Andrew Weathers
Artwork by Aubrey Nehring
Limited edition cassette available from Eiderdown Records:
"Oregonian double bassist Gregg Skloff has been playing his instrument since the early 90s, and while he’s played in all manner of configurations, this solo set where his bass is guided through myriad effects into murky chambers seems unusually blessed. Skloff bows and scrapes his way through most of the four long and slow textural pieces here. Notes are sustained in grinding arcs that last for minutes, and Skloff’s use of amplification and reverb effects adds a touch of metallic squall to the doom. Greek trio Mohammad have made some outright doom drone with cello and double bass in recent years, and Skloff’s solo rumblings touch on similar ground here. His is far more unhinged and far rawer though; the Haino to Mohammad’s O’Malley."
— Tristan Bath, The Quietus
"Seattle’s Eiderdown Records has had a relatively slow summer, so I could feel worse for accidentally keeping Oregon-based contrabassist Gregg Skloff’s The Glacial Enclosure under my hat since late spring — but not much. As the name and cool swirls of artist Aubrey Nehring‘s j-card design suggest, these tracks are heavy and slow, occasionally fractured or flung more quickly in new directions by their deep inner tension. They are that at least though: deep, and on the darker side, still appropriate seeming as we sail out of the hottest summer on record. Though Skloff is a veteran player with a constantly expanding catalog of worthy recordings (four new additions since The Glacial Enclosure, including a great tribute to Tony Conrad), as our colleague Tristan Bath at The Quietus points out, this effort seems 'unusually blessed.' Each track reorients the listener in relation to the titular glacier, and however they were composed — as deliberate meditations on these spaces or not — the association feels substantive. Little events in the recording take on the intended atmosphere, colored by dry wisps of reverb and what sound like a range of other amplified 'objects.' Eventually you can picture the crystalline lattice, jagged underside, or exposed peaks of widescreen ice as the four track sequence moves forward."
— Dwight Pavlovic, Decoder Magazine
"Impending subdual of your consciousness awaits as The Glacial Enclosure kicks off. Humming softly and stunningly from the movement of ships so big, imaginations have never been there. The world begins to vibrate before the horizon blackens with smoke or some unknown reason the sun rays are muted. Gregg Skloff has created a rumbling sonic classic for drone lovers who like the heavy.
"The Glacial Enclosure is titled very well. If a glacial period could be recorded over thousands of years then condensed into a little over a half hour, maybe this is what it would sound like. Monumental tones drawn out, reverberating over vast expanses, pulverizing all objects in the path. Like the christian monk in a monastery hearing the din of viking ships reaching shore. The sounds grow louder as the pillaging reaches the stone walls of the monks abode. All is over soon. What once was is now gone, consumed and turning over in the belly of time. Glaciers perform the same way. Rolling boulders so big like a cats paw on a ball of yarn. Effortless is what The Glacial Enclosure sounds like. Immense walls of droned out noise, sheering layers off that we hear crashing to the ground. Moving through your mind, then receding, leaving a moraine of thought and impressions.
"Eiderdown Records has this one out in an edition of ninety. The label creates really well done cassettes on both the music and art sides. Looks and feels like screen printed artwork rich with color to match the music waiting for you to listen to. If you have an Eiderdown Records release you will know, if not, this is a great selection to start with."
— Ken Lower, Lost in a Sea of Sound