Independent Music & Equipment Reviews, Forthcoming Music Label & Sounds

Archive for January, 2013

Catching The Groove with Martin Schulte


More information on Martin Schulte:

Musician and DJ Martin Schulte is the nom de plume of Marat Shibaev, who is from Kazan, Russia (about 500 miles east of Moscow, in the Republic of Tartarstan).  Whether working, relaxing or out for a night, there are times when a groove just needs to be caught, and Martin Schulte helps get me there.  Without getting too much in the sub-genres of his music (which could spark a debate like which speaker is the best, in audio circles), let’s just stick with words like Electronica, Techno with small doses of ambient field recordings.


His music is solidly rooted in analog modular sequenced synthesizer works (latter day Kraftwerk, for example).  His latest album Slow Beauty is inspired by photography and memories, including images he has taken of the beautiful landscapes near his home (in sharp contrast to the stark winter vista depicted on some of his previous albums).  Some tracks have deep visceral* grooves, others are more delicate, sampled and atmospheric, but there’s always infectious motion involved.  I have favorites on all four of his albums that I’ve referenced—excellent soundtracks for all sorts of places and experiences.


Since I’m rather old-fashioned, and prefer physical releases, to date I have four of Martin Schulte’s CDs, three released on Lantern/Nature Bliss and one on RareNoiseRecords.  All are available at Darla Records (US Distributor).  There are many other releases available, including some live recordings (see links at his Soundcloud page).  Samples of each of his albums are shown below.

* – Although not essential, a subwoofer is a beneficial accessory for the full effect.

Slow Beauty (2012):

Treasure (2011):

Silent Stars (2010):

Odysseia (2009):


Please Note: With the exception of the cover of the album Silent Stars, all images are by Marat Shibaev and are used with the permission of Marat Shibaev who retains all rights, credit and copyrights to these images.

Chris Dooks / Machinefabriek – The Eskdalemuir Harmonium


LP Title: The Eskdalemuir Harmonium


EP Title: Non-Linear Responses of Self-Excited Harmoniums

Komino K0M1N0-004 (Vinyl LP & Digital w/ EP) Time: LP About 36 Minutes EP About 13 Minutes

Record Label:

Chris Dooks:  More on the LP trilogy:


Tracks LP (LP & Digital): 1) The Pike Knowes The Loupin’ Stanes; 2) Betamax and Dictaphones; 3) Ewe Knowe The Girdle Stanes; 4) Settlement

Tracks EP (Digital): 1) Steady States and Transient Oscillations; 2) Aerodynamic Excitation of the Harmonium Reed; 3) The Motion of Air-Driven Free Reeds

Authentic, synthetic, living, languishing, animate, inanimate, well, ailing, history and the now: these are the explorations of the latest collaboration of Chris Dooks and Rutger Zuydervelt (Machinefabriek).  Like many, I have always been drawn to the old and mysterious, wanting to know more about the history of things, the times in which they existed (and in this case, what hands and feet brought these venerable machines to life).  Harmoniums are vestiges of another time (mostly from the late 18th C through the middle 20th C), inanimate objects, strangely biomorphic in their inner workings that are revived with physical exertion, air in their bellows (the lungs) and resonant metal reeds producing the sounds (the vocal chords).  Neglected harmoniums often mournfully creak and object to being revived after long slumbers.  A friend of mine once used the term “lumbering harmonium” to describe his relic on an instrument—curiously descriptive in both reality and material (when the verb is used as a noun).


These soundtracks depict a retreat of solitude into the Scottish countryside, one of a series of three projected works and part of Chris Dooks’s PhD research in sound art and medical humanities, as well as response to a chronic illness; the search for comfort and rest through improvised sonic threads (passed between Dooks and Zuydervelt during their development) that were crafted from music, field and voice recordings.  The resulting drone-like ambiance is a fascinating and relaxing journey with sociological, archaeological and radio documentary parallels.  Thanks to the on-location recordings, there is a strong sense of place and memory imbued into this album.


The recordings, liner sleeve and notes, photographs and graphics are impeccably produced as is the ruby red vinyl LP.  This is the second Komino Records LP that I have acquired (the first being Kyle Bobby Dunn’s In Miserum Stercus, which I reviewed in late 2012).  The digital EP presents additional serene field and harmonium recordings—a beautiful production overall.

The next album in the series will be Three Hundred Square Miles of Upwards.

Pre-Master Recordings from Three Hundred Square Miles of Upwards


The third album will be CIG{R}LES.

Pre-Master Samples from CIG{R}LES


Review: Celer – Without Retrospect, the Morning

Celer WR,tM

Glacial Movements Records – GM015 (CD) Time: 52:13

Artist Websites: &

Record Label: &

Tracks: 1) Holdings of Electronic Lifts; 2) A Small Rush into Exile; 3) Dry and Disconsolate; 4) Variorum of Hierophany; 5) A Landscape Once Uniformly White; 6) Distance and Mortality; 7) With Some Effort, the Sunset;

Although not as indiscriminate as is denoted by the term, I am often a completist when it comes to collecting the works of selected authors and musicians.  Yet, I would be hard-pressed, given his massive output of creative work, to even begin to collect all the music of Will Long in the guise of Celer.  By now, I probably have a dozen or so of Celer’s recordings, but if I had to recommend one and only one recent work, it might just be this almost mystical and entrancing album.   I’m also drawn to this release since it fulfills one of the most significant inspirations for why I listen to music—it takes me somewhere, and the images and sensations are vivid.

Album Samples


This is the third work in a trilogy based on water (to some, water symbolizes comfort and freedom).  The two previous albums are Cursory Asperses (2008) and Escaping Lakes (2009)—the former alluding to the slow movements of small streams and the latter to the calmer depths.  The music on this album being inspired in part by Will’s trip to southern Alberta in 2009 (documenting the wilderness in photographs for a local Park Service).

Without Retrospect, the Morning is different from the first two in the series in that it has distinct tracks (versus a continuous thread of sound) and it captures water (or the sense of it) in a different state—a chilled desolation, at times at the edge of an existence where the potential energy is stored and released ever so sparingly in a landscape yearning for Sun and warmth.  It’s therefore appropriate that this album landed at the Glacial Movements record label, a self-proclaimed “glacial and isolationist ambient” label.  I also appreciate that the recording has been mastered with a softness that retains the intricate clarity of the many layers of sound buried in the crystalline strata (to heck with the loudness wars!).  There are also hidden sonic depths, and some passages might be felt before they are heard (as in Dry and Disconsolate).

A lateral effect of this CD is that it triggers (for me) some pleasant, albeit quirky, sonic memories from long ago.  I’m a fan of the original 1960s Star Trek.  There was some great incidental music and ambient sounds used in that series that, to my ears, are recalled in a track like Distance and Mortality (see if you hear the resonance of the wind from the pilot episode, The Menagerie or the sound of the transporter beam).

Distance and Mortality


So find a quiet room, bundle-up, get comfortable, and explore stunning breadth of this vast hyperborean landscape.  Just remember to turn the volume back down on your amplifier before you change the sources on your preamp or pop-in another CD.

Review: Roger Eno – Ted Sheldrake

Review: Roger Eno – Ted Sheldrake.


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