Independent Music & Equipment Reviews & Music Label

M. Ostermeier – The Rules of Another Small World

Tench Records – TCH04 – 37:11

http://www.tenchrec.com/ & http://www.words-on-music.com/mostermeier/

1) Micro Forest Updraft, 2) Streambed Arrangement, 3) Sunlight on My Desk, 4) I Took Out Your Picture, 5) Floorboards, Well-worn, 6) Trickle Down, 7) Fast Darters, 8) Underwater Drifting, 9) Retreating Night, 10) Suspicions, 11) Ngth

I’ll admit it; I was first intrigued with this album because of its cover, images of an abandoned sci-fi pod-style housing project in northern San-Zhr, Taiwan taken by photographer Craig Ferguson.  Coincidentally, I had recently purchased the band Should’s sharply crafted album “Like A Fire Without Sound” on the Words on Music label.  Little did I realize, but M. (Marc) Ostermeier is also part of Should, along with Tanya Maus & Marc’s brother, Eric.  Marc is also co-owner of the Words on Music label.  After rather experimental sampled-guitar beginnings in Austin, Texas, Should’s music has evolved into rather direct (and often very catchy), yet introspective, post-rock works sometimes classified as the “shoegazer” genre.

“The Rules of Another Small World” certainly takes some cues from Brian Eno and Harold Budd’s ambient works together and it sounds as if one is exploring the environs of what is depicted on the album’s cover.  In contrast to Should’s directness, this is music-on-the-edges of consciousness or the fringe of a dream, with great depth.  It evokes, for me, a feeling of having vivid memories without remembering all of the details, yet still being left with strong images, sounds and colors.  The album has an almost early-era Kraftwerk beginning, similar to “Kling Klang” from the 1972 album “Kraftwerk 2”.  In that work, bells, gongs and chimes of various types start and then drift into a muffled drone of flute, guitar and electric piano.

Audio Tracks “Micro Forest Updraft” & “Underwater Drifting”: the-rules-of-another-small

Ostermeier uses electronic and acoustic instruments (piano and possibly a vibraphone) effectively and melodically throughout with various treatments. There are ambient sounds, real and electronically created.  The recording is penetratingly clear and broad, but not overpowering, so the result is a very relaxing and sensuous exploration of an ethereal musical realm.  This is music with a direction, not free-form ambient sounds, at all.  With each subsequent listen, I hear new things and focus on different parts and counterpoints in the recordings.  Marc previously released an equally intriguing album “Chance Reconstruction” TCH01, with another beautifully decorated sleeve of black and white forest images.

TCH01 Chance Reconstruction

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