Available at: http://polarseasrecordings.bandcamp.com/album/transit
Polar Seas Recordings PSR-007: CD-R Limited to 50 (Time: 64:02) with hand stamped numbered envelope, 8 page booklet and unique numbered art card by Shannon Penner. Review copy is 35/50. Album is also available as a digital download, but the first seven tracks only.
Tracks: 1) The Breathing of Roots, 2) Saturnine, 3) Chambers of the Sea, 4) Sungazing, 5) Ylla, 6) Un Jardin Des Cieux, 7) In The Decay of Shadows, Bonus CD tracks: 8) Equinox, 9) In The Decay of Shadows (Piano)
It’s all a matter of relative perception…a transit at sea, in the sky or on land and the paradox of experiencing the direct speed of travel from within or observing from afar a celestial body in space, a vehicle on land or a jet in the sky moving very slowly, when in reality in it could be traveling hundreds or even thousand of miles per hour. Time can seem to stand still…
Shannon Penner is Orbit Over Luna and he is an animator, sound designer, composer and multi-instrumentalist from Toronto, Canada. His work draws from many influences and instrumentation in his work varies, but it’s primarily guitar-based (often with ample reverb) with select moments of piano.
Penner’s album Transit is both about being in the moment and observing from afar while experiencing the sense of movement on land, at sea or in air (or perhaps even floating in space). The album is quite serene and comforting, but it holds one’s attention weaving through a variety of sonic territories. I compare the album (as much as I like the competitive side of sailing) to spending a delightful afternoon on a sailboat in the warm sunshine with gentle breezes and my hand occasionally creating a gentle wake in the water.
The Breathing of Roots announces what follows almost like a distant fog horn at dawn, to gently nudge one’s attention that it’s time for a journey. Saturnine seems a bit of a misnomer, because rather than being gloomy, it’s a slow drift on that boat (and not in the doldrums) allowing the distractions of the world to dissolve and to focus instead on the gentle and calming movement…a languid afternoon on the water.
I’ve read Shannon Penner’s oeuvre being compared to a number of different musicians, but the closest for me is the work of Robin Guthrie (Cocteau Twins) and in particular his trilogy of recent EPs entitled Angel Falls, Songs To Help My Children Sleep and Sunflower Stories. Penner’s work, however, is not as rhythmic or melodic when compared to Guthrie’s; instead it focuses more on atmospheric imagery. Throughout the album there are occasional broad wave motions that yield gossamers of a tangible melody, but it’s the exception rather than the rule. In The Decay of Shadows, which follows the transit of the Sun in the sky, has a minimal and complementary piano melody to the guitar chords that emerges and disappears gently like shadows created from clouds passing across the sky until the Sun sets below the horizon (one of the bonus pieces is the isolated piano track).
Sungazing has moments of distorted guitar as if shielding one’s eyes from the Sun’s glare and as a more comfortable view emerges the sound clarifies and the panorama of the landscape comes into focus. Ylla is a celestial passage and it makes me wonder if it’s a nod to one of Ray Bradbury’s Martian Chronicles of the same name. And the farthest and most ethereal transit of all is in Un Jardin Des Cieux (The Garden of Heaven). In The Decay of Shadows is the postlude to the album, but there are two bonus tracks on the CD, the first is Equinox, the two points in our year on Earth where we travel about the Sun and where day equals night, before summer or winter, as we pass through time…and the older we are the shorter our relative perception of time becomes.
Enjoy the ride!
CD DR-21 Time: 56:34 – http://dronarivm.com/
Tracks: 1) Donitsk, 2) Daithn, 3) Skdiv, 4) Aoleeignal, 5) Rionzemef, 6) Vansunbarth, 7) Pleq Remix of Rionzemef
I’ve been a bit out of the loop with Dronarivm label releases for the last six months or so, but one of their new albums caught my ears—the collaboration with Pjusk and Sleep Orchestra.
Drowning In The Sky initially strikes close to home in its sound aura since we are just emerging from a VERY long winter here in the northeast USA. Pjusk’s (Rune Andre Sagevik and Jostein Dahl Gjelsvik) music is often rooted in their Norwegian locale being inspired by weather, landscape and nature and Sleep Orchestra’s work (as noted by Christopher Pegg) is often influenced by science fiction or imaginary soundtracks to “…movies in your head…”
From what I have heard of their prior respective works, I wouldn’t have necessarily thought that their musical styles would merge comfortably, but after listening to Drowning In The Sky the combination works quite well. The album does indeed seem very much like a soundtrack to a short film of an imagined journey that starts in a stark and harsh landscape of wind, snow and ice—not exactly a comforting place to be, but the solitude brings a focused awareness of the surroundings (Donitsk). Eventually the scenes change and there is a transformation from an outdoor landscape into more industrial and metallic-sounding scenes (Daithn) with sporadic rhythms. Taut and glitchy beats emerge and then there are layers of cavernous spaces, like giant shipyards or factories with remote gantry cranes (Skdiv), sharpened with a solo trumpet.
In time the scenes are darker (Aoleeignal), although still quite spatial with sounds dancing within the mix, and there is a strong visceral undercurrent and an increased sense of motion. There is a return to an outdoor environment: water and wind in Rionzemef and an auditory sense of being in a vehicle of some sort (a large truck, train or ship perhaps) while experiencing a storm and pulsing undercurrent from outside the vehicle. The environment, despite being a long way from the desolation of an Arctic plain continues to intrude into the soundscape and at a windshield or porthole…or in the mind. Vansunbarth appears to be the arrival at the imaginary destination, where furtive sounds move quickly, muffled announcements, signals ring and footfall moves in a foggy haze, disorienting as if being awakened suddenly from a traveling slumber.
The album is a journey of contrasts, from the far reaches of harsh yet pristine tundra to the gritty environs of an industrial zone, from desolation and isolation to population. Pleq’s remix of Rionzemef gently sways and is more hypnotic and comforting than the original track.
A historical comparison: Drowning starts off being quite similar to Envangelos Papathanassiou’s chilling soundtrack to the film Antarctica and ends up more in a post-apocalyptic and highly cinematic realm of Bladerunner. Also of note, (and I always prefer a physical release to digital) Dronarivm has changed their CD sleeve to a quite effective recyclable folded heavy cardstock slide-out package; my only comment would be to ask that the inner portion slides out another centimeter farther for easier access to the CD.
Eilean:  – Eilean Records: CD-R (an edition of 80) Time 48:16
Tracks: 1) Prelude in E Major, 2) Evenings Wait; The Morning’s Break, 3) Early Ferns, 4) The Sun Looks Quite Ghostly When There’s A Mist On The River And Everything’s Quiet, 5) Faint Whirs Of The Smallest Motor, 6) They Carried Teapots And Tiny Gas Canisters, 7) A Ship’s Bell (Sings), 8) The Weight Of The Frost On A Branch, 9) And The Guitar Plays War Hymns, 10) (Sings)
Long ago I found myself curiously attracted to an old celesta (celeste) in the back corner of my high school band room. I’d plug it in when I was sure that no one was around and adjust the controls and the small piano-like instrument made pleasantly sonorous yet mysterious sounds: belltones with alluring sustains and tremolos…
Eilean Records is a new French-based label run by Mathias Van Eecloo and twincities – variations for the celesta is the label’s first release (although ironically labeled ). Long Islander (New York) Fletcher McDermott creates music in his basement studio in the guise of twincities (funny, when I think of “Twin Cities” I think of Minneapolis/St Paul, Minnesota).
Eilean is Scottish Gaelic for Island and the label’s works will each relate to a point on an imaginary map with up to one hundred predetermined locations. Coincidentally, McDermott lives on an island (albeit a rather large island). Eilean releases will vary in quantities from 75 to 200 physical copies and there will be up to 100 releases with hand made covers and related artwork in this map series. Connections to the place where the music is created will be memorialized with an image of a small bottle containing the soil from the musician’s locale. On the reverse of the image with be the map quadrant assigned to the musician. Each release will be a part of the puzzle of the overall map…the music connected to the artist, a point on the map and a small vial of soil. In effect, an imaginary hybrid island with a small yet tangible existence. Islands of the imagination, islands of the mind, perhaps even islands of isolation. Have any of you ever read the short story The Man Who Loved Islands by D. H. Lawrence?
I’ve noted before that I’ve listened to shortwave and ham radio operators for decades and in some respects this album is like roaming the radio dial late into the night on an old analog shortwave set using the fine-tuning knob. The music is like traveling and it takes the listener to different places. The feeling of being taken on a tour through a shortwave realm isn’t literal like in Kraftwerk’s song Radioland (from their 1975 album Radioactivity), rather it’s more subtle in the background and doesn’t distract from the aura created by the music and other sounds. The album at times also evokes Godley and Creme’s song Get Well Soon from the 1979 album Freeze Frame (waxing rhapsodically about Radio Luxembourg and Radio Caroline late into the night), although that song is more melodic. The celesta isn’t the dominant sound generator in this album, but each piece has a strong thread weaving throughout along with other well-disguised instrumentation, found or ambient sounds and faint voices. Rather than repeat the track names, I’ll just reference the track number in my overview:
1) variations opens with rapid-fire automated Morse code, soothed with slow comforting celesta responses. 2) The celesta is transformed into restful wind chimes with long passages of deep resonant tones and distant faint melodies. There are some comparisons to the recent works of Kane Ikin’s otherworldly explorations (seek out his recent 12k label releases). 3) Is like hanging on the edge of a dream while awakening in the misty early morning light—the calm and the quietude. The celesta treatment is like it could be from portions of the soundtrack to Forbidden Planet—rather mysterious, almost ominous.
4-7) This collection of tracks seems like a suite, at first sonorous, gentle and deep tones and mysterious atmospheres (in time, a slower Morse code reappears), transitioning into an edgier realm (6) and finishing in a gritty drift across the radio dial, sharper sounds with kalimba-like percussives. 8) Sways gently and is the most peaceful track on the album. It evokes some of the feeling of Robert Rich’s recent album Nest. 9) This piece is a broad soundscape (in some respects like those created by the band Lambchop as links between songs…William Tyler’s moody electric guitar drones). The celesta is treated like chimes sounding like church bells, in memoriam. 10) A gritty close, like the beginning, and the distant music returns one last time from a far away island.
Eilean Records is off to a fine start with twincities variation for the celesta. Visit their website soon for the next planned destination which will be released on 5/5/14 and monthly thereafter.[vimeo http://vimeo.com/86956807]
Photo of twincities by TJ Boegle
This is a solicited review.