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Review: Roger Eno and Plumbline – Endless City/Concrete Garden

LP/CD or Digital Time: 37:43 Hydrogen Dukebox Records: Duke 157djv

Released May 20^th in Europe and July 2^nd in US and Canada

Label and Album: http://hydrogendukebox.com/ and http://www.endlesscityconcretegarden.com/

Roger Eno and Plumbline: http://www.rogereno.com/ http://www.neutralmusic.com/

Tracks: Side A: 1) Taking Steps, 2) Geometry, 3) Codewords, 4) Suspended Animation, 5) Ulterior Motives, Side B: 6) The Weather Inside, 7) Back to the Beginning, 8) The Artificial Cat, 9) Pulling Strings, 10) Beauté de Passage

Time plays tricks as one gets older…what used to seem like an eternity might now seem like months, weeks or even a blink of an eye. In the proper hands, time can bend under the spell of music. Transparencies, the last album by Roger Eno and Plumbline (Will Thomas) appeared about six years ago…seems like a while ago, but the memory of it is clear enough that hearing their new album Endless City/Concrete Garden, is like picking up a conversation with an old friend that paused mid-sentence and then continued, flow uninterrupted after an unexpected reappearance—like they never left. But something is different, new experiences have somehow changed things.

A paradox exists in this album, on one hand there is an apparent idée fix of love, loss and tragedy (as noted by reference to the curiously obscure works of the poetess Arlette Feindre) yet the album is not gloomy; it is woven with ethereal moments of warmth, reflection and comfort, beginning with the familiar gentle cascades of piano in Taking Steps. There are scenes of rhythmic playfulness, as in Codewords, with a gamelan-like opening. Also an ironic solitude is present in some tracks like Pulling Strings where one could be walking alone late at night in a city full of people and noise, yet remain focused on more powerful inner thoughts (a strange loneliness in a crowded place). Despite the calming softness to this album, it isn’t amorphous; it has a purposeful direction.

Like their album last together, Endless City/Concrete Garden has taken its form across an ocean and between time zones, the contrasts of cities (New York City and Los Angeles) and the countryside of East Anglia in the UK. The pieces this time around often have a foundation in more recognizable instrumentation: piano, guitar and even a koto, with arrangements including violin, cello, percussion and electronic treatments. Percussive mantras also form the basis of some pieces as in The Artificial Cat. Treated field recordings make appearances throughout (I could swear there is a train horn hidden within The Weather Inside). It’s not always clear from whose hands the sounds are created, but Roger Eno’s piano work is unmistakable, as in Back to the Beginning…it starts out like an etude and then moves on to tell a story. The haunting Beauté de Passage appears to open with what sounds like Frippertronics, but with closer listening, I think it could be a treated accordion…how appropriate, how French. C’est tragique, mais enchantant aussi.

***

Note: The album is being released as an LP with CD included or as digital files. It’s not yet clear to me if the CD will be available on its own—no word from the record label on this.

Posted by wajobu | June 8, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Ambient, Audiokarma.org, Cello, Daily Audiophile, Drone, ElectroAcoustic, Electronica, Eno, Experimedia, Guitar, HifiZine, Hydrogen Dukebox, Instrumental, Koto, Music, Piano, Plumbline, Review, Roger Eno, Violin, Will Thomas | 1 Comment

Review: HearCapeCod – SoundSignals and Upstream

Volume One – SoundSignals – #HCC001

Notes and Detailed Credits: http://hearcapecod.org/soundsignals/

CD 1 (Time: 39:08): Sound Signals: Act 1: On Land, Act II: On Water, Act III: A Year, Coda: Route Six

CD 2 (Time: 46:24): Signals Remixed: 1: Goldmund, 2: Marcus Fischer, 3: Loscil, 4: Taylor Deupree, 5: Neara Russell, 6: FourColor, 7: Steve Wilkes, 8: Simon Scott, 9: FourColor & SoundSignal

Volume Two – Upstream by Fordham Wilkes – #HCC002

Notes and Detailed Credits: http://hearcapecod.org/upstream/

CD (Time: 37:08): 1) Gates of Summer, 2: The Language of Birds, 3: GP Road Resonator, 4: Dive Down, 5: Upstream, 6: June, 7: Shifting Sand, 8: Fog, 9: The Message

Websites: http://hearcapecod.org/ & http://www.fordhamwilkes.com/

Sound Archive: http://www.hearcapecod.org/ListView.php

Recordings mastered by Taylor Deupree at 12k Mastering

Since the middle of 2011, Berklee College of Music professor, percussionist and Blue Man Group alum, Steve Wilkes has been working on a project to capture the sounds of Cape Cod over a year and to map those sounds as an aural history of the region (the far eastern end of Massachusetts in the northeastern United States). The project was funded in part by the Newbury Comics Faculty Fellowship. The region has undergone many environmental and man-made changes, from rising sea levels and coastal erosion to residential development. It was Wilkes’ feeling that the region is measured and analyzed in many ways (like bird population counts, temperature and sea levels), but there was yet to be a base-line environmental sound analysis examining animal, environmental and cultural activity in the region.

At this point, the project consists of 3 CDs: 1, a collection of regional sounds; 2, the sounds remixed by a number of musicians who will be familiar to many, and 3, a song-cycle inspired by the region at various times throughout the year (which also incorporates many of the environmental sound recordings and the detailed credit links give an excellent overview of the variety on-location recordings). The album artwork evokes pleasant memories of worn edged blue-green beach-glass.

CD 1 is a sonic time capsule, and at first it reminded me of a number of sound effects and spoken word recordings of the 1940s and 50s, and for a brief moment, I thought I was hearing a snippet of the old records by Bert and I. It also had the immediate effect of taking me back in time to the days when I summered on “The Cape” as a child with my parents in the early 1960s. The documentation of the region also harkens back to some of the expansive sound archive work by Alan Lomax. This CD chronicles the sounds of land, water and activities that mark the course of a year from a First Night Noise Parade to the calming summertime beach surf. It closes with the reading of the poem Route Six by Stanley Kunitz (being the road that travels down the center of the “flexed arm” of Cape Cod, reaching out into the Atlantic Ocean).

Having lived in a beach-town region in nearby southern Connecticut, I am also reminded that a resort region like The Cape has two lives—the times when the summer-folk occupy and the off-season when only the locals remain. The off-season is the time when locals can take long walks on the shore beaches and see very few people. Life goes on in a different way after the tourists have left in the autumn.

Taylor Deupree’s Remix

Wind Chimes Field Recording That Inspired TD’s Remix

CD 2 is a sensitively created set of interpretive remixes by many well known artists in the current electro-acoustic, ambient and electronic music communities (see list above). The field recordings from CD 1 are delightfully co-mingled with the offerings from each of the artists (well documented at the web link also noted above). I was immediately struck by the opening notes of the first track by Goldmund (Keith Kenniff), the piano melody being very reminiscent of Anthony Phillips’ Death of a Knight from Henry: Portrait from Tudor Times (from the album The Geese and The Ghost), before drifting into a dream-state with seaside, night-time crickets and Morse Code pulses.

FourColor Remix

Field Recording for FourColor Remix

Most of the remixes are by artists who have done work strongly connected with outdoor environs and water (as in the Flaming Pines label Rivers Home series), like Marcus Fischer, Taylor Deupree and Simon Scott (to name a few). The character of this disc ranges from contemplative to glitchy (FourColor) to playfully rhythmic (as in Loscil’s remix). The remix by Steve Wilkes includes the first HearCapeCod recording made in Truro at Corn Hill Beach in the summer of 2002. The CD closes with a collaboration of FourColor and SoundSignal (Wilkes) and is the most melodic and rhythmic of the tracks of the album. This CD forms a strong connection to the foundation provided by Wilkes’ research and recordings. As much as I’m tempted to suggest that this CD be made available separately, after spending time with the entire set, it is actually a quite inseparable part of the whole.

CD 3 Upstream, is a song cycle by the duo Fordham Wilkes (Ginny Fordham: vocals, Steve Wilkes: drums with Crit Harmon: guitars and Keiichi Sugimoto: guitars) and is inspired by years of memories of time on Cape Cod and it is the most personal of the three discs. Fond recollections of places run deep for many and they have different effects on people. This is where the project transforms from being objective (CD 1) to the most reflective and personal (while avoiding sentimentality).

The album has a sense of welcoming and ease, enjoying summer breezes, wading in tidal pools, walking in sanctuaries or along beaches. There is no heavy foreboding or hand-wringing of what was or could be; the feeling is that of the now and hopefulness, and Ginny Fordham’s voice brings a relaxing calm to the album. Gates of Summer opens CD3 and is forms an instrumental and melodic transition from the last track of CD2. The Language of Birds plays rhythmically with a juxtaposition and syncopation of the instrumentation and avian field recordings.

GP Road Resonator

The Field Recording Forming Basis for GP Road Resonator

The ever-present drone of automobile traffic is also a reality of summers on The Cape (whether passing over the Sagamore or Bourne bridges before necking down to Route 6 or at the half-way point to Provincetown, in Eastham) and these sounds are merged with fleeting views to salt marshes in the pensive GP Road Resonator. As in CD 1, there are songs of Land as well as Water, as in Dive Down and Upstream (as much a metaphor for returning to and rebirth of the area as it is the traffic on Route 6 that one is “swimming” against!).

CD 3 is also a reflection of CD 1’s A Year, The Cape in song over the course of a single circumnavigation of our Earth around the Sun. As the album progresses through the summer and into the end of a year (June, Shifting Sand and Fog) it grows more contemplative with the advancing of the calendar, melding dreams with reality. Each Spring many look forward the approaching time outside and then seemingly in the blink of an eye, Summer is over. The album closes with The Message, an inspiration left in a voicemail, which ultimately is the beacon announcing the sense of place of The Cape that inspired the HearCapeCod project.

****

The release date (May 28, 2013) for this set is at the unofficial “gate of summer” season, just after Memorial Day weekend. These albums will be available at: Booksmith Musicsmith, Orleans, MA: https://www.facebook.com/BooksmithMusicsmith , Muir Music, Provincetown, MA: https://www.facebook.com/muirmusic5 , The Cape Cod Museum of Natural History: http://ccmnh.org/, CD Baby: SoundSignals On CD Baby, iTunes: http://www.apple.com/itunes/ and Amazon.com: http://www.amazon.com/

Posted by wajobu | May 23, 2013 | Categories: Uncategorized | Tags: 12k, AffordableAudio, Ambient, Audiokarma.org, Berklee College of Music, Cape Cod, Crit Harmon, Daily Audiophile, Drone, ElectroAcoustic, Electronica, Field Recordings, FourColor, Ginny Fordham, Goldmund, Guitar, HearCapeCod, HifiZine, Instrumental, jazz, Keiichi Sugimoto, Loscil, Marcus Fischer, Massachusetts, Music, Neara Russell, Progressive, Review, Simon Scott, SoundSignals, Steve Wilkes, Taylor Deupree, Upstream, Vocal | Leave a comment

Harold Budd – Jane 1-11 – Updated with Video

**THIS POST HAS NOW BEEN SUPERSEDED BY MY REVIEW OF THIS ALBUM**

Here —> https://wajobu.com/2013/06/11/review-harold-budd-jane-1-11/

I won’t say much about this…yet. The new Harold Budd album is exceptional and different—unexpectedly so. It has a wide variety of instrumentation and broad frequency range. It moves from stark to lush and has moments of indescribable beauty (like Jane 8). Up until recently there was a video up on YouTube by Jane Maru, but now it appears to be gone**. So, for now, Budd’s record label Darla is streaming the album in its entirety (for how long, I don’t know). Go ahead, just buy it.

**Video now found!

I am thankful that Mr. Budd is still making music.

Stream Harold Budd’s Jane 1-11 Here at Darla Records

Posted by wajobu | May 23, 2013 | Categories: Uncategorized | Tags: Ambient, Darla, Darla Records, Harold Budd, Instrumental, Jane Maru, Music | 3 Comments

Review: Berserk! (Lorenzo Esposito Fornasari and Lorenzo Feliciati)

RareNoise Records CD RNR031 Time: 49:41 (vinyl soon and hi-res digital)

http://www.rarenoiserecords.com/berserk and www.facebook.com/berserkband

Tracks: 1) Macabre Dance, 2) Fetal Claustrophobia, 3) Blow, 4) Not Dead, 5) Clairvoyance, 6) First, 7) Dream Made Of Wind, 8) Wait Until Dark, 9) Latent Prints, 10) Dream Made Of Water

Band: Lorenzo Esposito Fornasari (Voice, Electronics, Organ, Guitar) and Lorenzo Feliciati (Electric and Upright Bass) with: Gianluca Petrella: Trombone & Effects (tracks 1,2,4,5,7,10), Fabrizio Puglisi: Piano & ARP Odyssey (6,8,9), Jamie Saft: Keyboards (1,2,9), Eivind Aarset: Guitars (3,4,7,9,10), Sandro Satta: Alto Sax (3,9), Cristiano Calcagnile: Drums & Effects (4,5), Pat Mastelotto: Drums & Effects (6,8,9), Simone Cavina: Drums (1,2)

Lorenzo Esposito Fornasari aka LEF and Lorenzo Feliciati form the core of Berserk!, along with some other familiar names in the RareNoiseRecords stable, including Feliciati’s fellow Naked Truth bandmate Pat Mastelotto.

We all need a venting catharsis now and then—some folks resort to primal scream therapy, but generally I’ll pick music to assist with exorcising my darkened bilious tendencies. The new self-titled album from Berserk! seems like an effective cure for those intractable days when the pile gets too deep and the unrelenting Myth of Sisyphus comes to mind. Despite the band and album moniker, there is a broad mix of dynamics in the album and it’s marked by many (nearly neck-snapping) contrasts in sound and rhythm.

Berserk! isn’t a broad spectrum motoric assault on the senses, but it deftly selects its points of release, building like a suspense thriller with the rage boiling over every so often. The album also teases and mocks (from the gently maniacal whistling in the opener Macabre Dance to the background telephone ringing in Fetal Claustrophobia…yes, I turned my head to see if my phone was ringing!). There’s also a brief moment of saxy playfulness (albeit dark) in the reflective interlude Blow before entering the backstreets and dark alleys of Not Dead (shades of the growling Tom Waits and Sparklehorse duet Dog Door from the 2001 album It’s A Wonderful Life) with raspy voices and clusters of percussion pushing against an unyielding darkness.

Feliciati’s bass work throughout the album is reminiscent of Percy Jones’s work with Brand X, particularly the earlier freer-form improvised and less commercial version of “The X”. The aggressive horns, meandering piano, fast-changing rhythms and moods (as in Fetal Claustrophobia) also remind me a great deal of one of my favorite King Crimson albums, Lizard (under-appreciated until Steven Wilson remastered it with Robert Fripp). The treatment of Gianluca Petrella’s horns throughout much of the album often sounds like the thundering Mellotron horns used in Lizard. The sharp inventive contrasts in instrumentation also remind me of Frank Zappa and early albums by Godley and Creme (as in the albums L and Freeze Frame). Yet, there’s little humor in Berserk!—the focus is strictly business.

The middle portion of the album is furtive and contemplative in spirit (like the tracks Clairvoyance and First) and eventually LEF’s vocals (sung here, not spoken) break through, channeling John Wetton. Note: Don’t forget to listen for R2D2. There’s a brief pause (the calm before the storm?) with ethereal atmospherics and horn work in Dream Made Of Wind before the closing section of the album begins with a tender solo piano largo and transition to a massed rhythmic vocal and ultimately a full band assault in Wait Until Dark leading into an alto sax ensemble of Latent Prints (the feeling of KC’s Lizard returns) and moves into a roaring full-clustered rip. The album closes with the ominously thunderous and raging vocal domination of Dream Made Of Water—there’s the Berserk!

Had a tough day in the trenches? Hold the rage at-bay (warn the neighbors, shut the doors and turn up the amp) and have a listen. I think you’ll feel better.

Lorenzo Feliciati and Lorenzo Esposito Fornasari – Courtesy of RareNoiseRecords

****

This is a solicited review.

Posted by wajobu | May 9, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Audiokarma.org, Bass, Berserk!, Daily Audiophile, Electronica, Eraldo Bernocchi, Guitar, HifiZine, Instrumental, jazz, King Crimson, LEF, Lizard, Lorenzo Esposito Fornasari, Lorenzo Feliciati, Mellotron, Music, Progressive, Rare Noise Records, RareNoiseRecords, Review, Rock, Sparklehorse, Tom Waits, Zappa | 4 Comments

Revisiting Old Friends and Meeting New

Anthony Phillips: http://www.anthonyphillips.co.uk/

Ant’s friend and illustrator Peter Cross: http://petercrossart.com/

Ant’s (too occasional) collaborator Enrique Berro Garcia: http://quiqueberro.com/

Although he was 18 when he departed from the band Genesis in 1970, many still associate Ant Phillips almost exclusively with that band (despite his approximately 40 commercially released solo albums and collaborations since 1970 in addition to his vast output of library music compositions and commission work). I have been very fortunate over the years to acquire all of these albums, and each time I place one of Ant’s albums on my turntable or a CD player his music takes me to another place and time (the ups and downs of a life). Ant’s music has been a big part of my life and I owe a great deal of my own creative work to being inspired by his. I think Ant said it best on his second Private Parts and Pieces album Back To The Pavilion (released in 1980): “This album is dedicated to all those who still champion the “old fashioned” ideas of beauty, lyricism and grandeur in art against the tide of cynical intellectualism and dissonance.” Many of Ant’s earlier albums are now being completely remastered (from the source tapes) and reissued (often in double CD releases).

Ant and Quique from PP&PPIII – Antiques: Old Wives Tales

Also spinning these days are albums by:

Three Metre Day – Coasting Notes

http://www.threemetreday.com/

I have a ceramic artist friend (Hayne Bayless at Sideways Studios) to thank for getting me to these folks (often the best music comes from referrals by friends). At times their music is somewhat mournful, but always reflective and passionate—this trio from Canada is Michelle Willis, Hugh Marsh and Don Rooke with guest appearances by bassist David Piltch and drums by Davide Direnzo. The album is up-close, largely acoustic in instrumentation and delightfully musical.

Rhian Sheehan – Stories From Elsewhere

http://www.rhiansheehan.com/

At times the music is delicate and others it’s intense, but it’s always inventive and beautifully recorded. Rhian Sheehan is from New Zealand and has released 7 albums under his name as well as appeared on many compilations and soundtracks.

Iron and Wine – Ghost on Ghost

http://www.ironandwine.com/

I sometimes find Samuel Beam’s work to be a bit too intense and serious, but his latest album is open, hopeful and at times playful. The first single Joy is beautiful.

Wire – Change Becomes Us

http://www.pinkflag.com/

I kind of lost touch with Wire after their albums Pink Flag and Chairs Missing, but I rediscovered their more recent albums when I updated my original recordings with CD reissues. If this new album sounds a bit like it comes from the late 1970s and early 1980s post punk era it’s because many of the songs were written back then, and haven’t seen the light of day until now. The recordings and production are full, with great clarity and this album just makes me want to turn up the amplifiers.

You can listen to the entire album here: https://soundcloud.com/wirehq/sets/change-becomes-us

Montt Mardié – Skaizerkite

Record Label: http://hybr.is/

David Olof Peter Pagmar has taken many identities and until a few years ago he was Montt Mardié (his website is now defunct) and he has since moved on to new projects, but in early 2009 this was his album of excellent pop tunes and ballads—beautifully recorded and produced. The entire album can be streamed here:

Jonas Munk – Searching For Bill (Original Soundtrack)

Jonas Munk has released many great albums and collaborations as Manual and more recently as Billow Observatory, but this is his first soundtrack. The documentary Searching For Bill is Danish director Jonas Poher Rasmussen’s debut and it explores the meaning of life for those living on the edge of American society. It’s a sensitive and contemplative soundtrack.

Many of these albums are available directly from the artists’ websites or at online merchants like http://darla.com/

*****

Happy Listening and Spring (finally)!

Posted by wajobu | May 3, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Ambient, Ant Phillips, Anthony Phillips, Audiokarma.org, Billow Observatory, Daily Audiophile, Darla, David Piltch, Don Rooke, Drone, ElectroAcoustic, Electronica, Enrique Berro Garcia, Experimedia, Genesis, HifiZine, Hugh Marsh, Instrumental, Iron and Wine, jazz, Jonas Munk, Manual, Michelle Willis, Montt Mardie, Music, Peter Cross, Pink Flag, Progressive, Review, Rhian Sheehan, Rock, Samuel Beam, Three Metre Day, Vocal, Wire | Leave a comment

Review: Celer – Viewpoint

Murmur Records: MMR – 17 CD Time 78:31

Murmur Records: http://murmurrec.com/ & Celer: http://thesingularwe.org/celer/

I’m not sure where to begin with this, but it’s likely best that I write as little about it as possible. Some of what I write is speculation or perhaps flawed interpretation, but it doesn’t really matter since music listening and appreciation is often subjective.

Will Long’s (Celer’s) new album Viewpoint is simply gorgeous.

I have listened to Viewpoint while walking, reading, on the edge of sleep, awakening in rays of sunshine and listening as I am now on (what I consider to be) proper audio equipment, with sound filling my listening room. There’s a commentary within the CD cover, and it’s a narrative of (as I see it) the beginnings of a love story, moments in time and place, captured and held in the collective memory of the two who shared it–the connections in words and sound. It took me a few attempts to remain focused for the entirety of the album, but after re-reading the story and dreaming along with the music I was hooked, deeply. There are moments when Viewpoint weaves and peregrinates throughout its twenty-six nearly invisible sections, and at times there are some darker moments (life’s unexpected times) and pleasant daydreams, but eventually it all becomes clear and things interlock and harmony prevails, as tightly as the paving stones that decorate the inner sleeve of the bi-folding CD jacket.

Hold fast to the memories, don’t let them go…

Posted by wajobu | April 23, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Ambient, Audiokarma.org, Bandcamp, Celer, Daily Audiophile, Darla, Drone, ElectroAcoustic, Electronica, Experimedia, HifiZine, Instrumental, murmur records, Music, Review, Will Long | 1 Comment

Review: Recent Dronarivm Label Releases

http://dronarivm.com/

Three albums from far away (to me) arrived at studio wajobu yesterday, and my immediate reaction (aside from the excitement of getting a package from Moscow) was when I opened the envelope, I was very pleasantly surprised with the design approach of the album packaging—a heavy semi-gloss stock tri-folded card (about 5 by 7 inches) with really nice layouts, printing and graphics—simple, elegant and compact.

The three albums are the latest collaboration by Machinefabriek and Minus Pilots entitled Signals, the Aquarius project (a collection of 5 minute works by artists including: Federico Durand, The Green Kingdom, Pjusk, Melodium, Simon Whetham, Loscil, Marsen Jules, Fabio Orsi, Pillowdiver, Machinefabriek, Hakobune + Hiroki Sasajima, Francisco López, Pleq + Mathieu Ruhlmann and Yann Novak) and Darren Harper’s release from late 2012 entitled Passages for the Listless and Tired. What drew me to Dronarivm (at first) was Darren Harper’s album.

Dronarivm Label – Aquarius

DR-09 – CD: 70 minutes – Limited to 200 CD copies and digital download with extra track

http://dronarivm.com/2013/02/25/va-aquarius/

Aquarius, being a sign of the ancient zodiac, representative of one of the many artificial constructs of arrangements of stars in our Universe and on Earth symbolic of undulating waves of water, and in color an aqueous blue. This album is largely the sound of comfort and peacefulness with only occasional hints of stormy seas or skies (as in Untitled #288 by Francisco López). There is a broad sonic presence in each 5 minute track that belies their brevity, each telling a complete and unhurried story. Each track is somehow connected by imaginary links to another and perceptions of the overall whole change if listening is done in the shuffle-mode. There are so many strong pieces on this album, but I had the strongest connection with the incredible pulsing depths of Loscil’s Hemlock. This would be an excellent choice for lying down in the grass on a clear dark night with a pair of headphones and staring into the night sky and as the eyes adjust to the darkness, the many secrets of the great depths are revealed.

***

Machinefabriek and Minus Pilots – Signals

DR-10 – CD: About 34 minutes – Limited to 150 CD copies and digital download

http://dronarivm.com/2013/03/15/machinefabriek-minus-pilots-signals/

minuspilots.com & machinefabriek.nu

Signals is the latest release from Dronarivm. Like signals drifting in and out on a shortwave radio far off into the night, Minus Pilots and Machinefabriek have created a sense of mystery and discovery with intertwined and layered sounds. At first constructed with arrayed loops of electric basses created by Minus Pilots and Machinefabriek blending woodwinds, strings and voices into a loosely woven fabric of sound; the result at times being like conversations between unlikely strangers. There are moments of quiescent contemplation contrasting with more vibrant exchanges akin to morning-songs of birds reacting to the rising Sun. Sonic moods shift throughout Signals with more dulcet tones appearing at about the mid-point of the piece before more active coils of sound emerge later. With careful listening, distinct instrumentation can be gleaned from the recording, but blurring the mind yields a gestalt that is like imagining a room full of people (perhaps strangers sitting quietly in an airport lounge or waiting room) with their thoughts being transmitted into the ether, many passing into the nothingness, yet some connecting.

***

Darren Harper – Passages for the Listless and Tired

DR-07 – CD: About 45 minutes

Limited to 100 CD copies and digital download

http://dronarivm.com/2012/12/02/darren-harper-passages-for-the-listless-and-tired/

http://darrenjh.blogspot.com/

This is the album that brought me to the Dronarivm Label. I don’t recall how I was drawn to it or what landed me at sampling this album, but it must’ve been a lateral association somewhere in the neighborhood of six degrees (or in this case six passages) of separation and then attraction. The effect of this six-part album is calming, ethereal and curiously grounding. At times it growls (gently, as in Second passage) and often drifts into delightfully pastoral zones (like the closing Sixth passage). There are sections with a sense of flying slowly, just above a landscape in a vividly colorful slow motion dream (think Kubrick’s 2001) with deep almost motionless grooves reminiscent of parts of Tangerine Dream’s Rubycon. At times, the sound reaches, and reaches far, as in Third passage—it just keeps stretching ever closer to an unattainable edge and still onward for more. Despite being created from improvisation, Darren Harper has achieved a well-planned and deeply satisfying journey. There is a soft resonant afterglow present in this album.

***

Note: If you live where I do (far away!), it might take a couple of weeks to receive an order from Dronarivm, but trust me—it’ll be well worth the wait and patience. I look forward to more releases.

The Darren Harper CD was a direct purchase and the other two are solicited reviews.

Posted by wajobu | April 17, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Ambient, Audiokarma.org, Daily Audiophile, Darren Harper, Dmitry Taldykin, Dronarivm, Drone, ElectroAcoustic, Electronica, HifiZine, Instrumental, Machinefabriek, Minus Pilots, Music, Review, Rock, Rutger Zuydervelt | Leave a comment

Review: North Atlantic Drift – Monuments

Sound In Silence #sis015 Limited Edition of 200 CDr in hand numbered sleeve w/ insert

Band: http://northatlanticdrift.com/ & http://northatlanticdrift.bandcamp.com/ & https://soundcloud.com/northatlanticdrift

Label: https://www.facebook.com/soundinsilencerecords?fref=ts & http://soundinsilencerecords.bandcamp.com/

Tracks: 1) Passing Time, 2) Monuments, 3) Concrete Oceans, 4) Sandlab, 5) I Have Never Seen The Light, 6) Scholars Of Time Travel (part 2), 7) Sun Dial, 8) So Long As They Fear Us (on the CDr only)

The overlapping musical origins of Mike Abercrombie and Brad Deschamps have led to a sound that shifts between music genres: Mike’s roots being in electronic music and Brad’s in post-rock. They share common interests in the works of Eno, Satie, Stars of the Lid and others, and their music is soothing yet with a clarity of awareness of the out there beyond what is often the prosaic miasma passing these days as ambient instrumental music. It’s kind of like lightly sleeping with one eye open; taking in a view and related sounds while acknowledging what might lurk in the underneath or the above. At first, the presence of a musical fabric sets a scene and then a transformation to what might be a song in search of a lyric or even a deep transitional groove—it fits well.

At times the change in sound can be more than just a nudge (an unforeseen entrance of percussion or a back beat as in the middle of I Have Never Seen The Light—a wake-up of sorts, as if to ask: “Are you paying attention?—Don’t drift off just yet!”). It appears like a coalesced awareness from within a dream or as if sleeping in the warm sun when a cool breeze unexpectedly but pleasantly arises (a well known Canadian experience, I suspect).

There are threads between pieces on the album (and also to North Atlantic Drift’s first EP) like with the common sonic roots in Passing Time and Monuments (the undercurrent that binds) with the themes further developed with sustained and reverberant electric guitars. I’m somewhat familiar with their previous album Canvas as well as their two EPs Amateur Astronomy and their first work Scholars of Time Travel, the root of the sixth track SOTT (part 2) on Monuments. Part 2 is the awakened day to the original EP’s quiescent night with first an undertow of processed piano, and then the Sun rises as the undisguised piano is revealed.

I find that North Atlantic Drift’s music has a stronger connection to recent work by Robin Guthrie (Cocteau Twins) as opposed to Eno, Satie or SotL, yet the overall sound is more rooted in tangible instrumentation; the alignment with Guthrie’s work being that moods are set with an opening wash of sound (while a spring is being gently wound) and then a release to a fuller rhythmic soundscape. The most visually reflective track on the album is Sun Dial, the slow sweep of shadows passing as the light and activity waxes and wanes with the field-recorded ephemeral sounds of a day. The extra track So Long As They Fear Us on the CDr (not the digital download) is a return to the quietude, like sitting on a porch (in the dark) on a comfortable rainy night with a safely distant thunderstorm.

And don’t forget to go back to their album Canvas—copies are still available.

Recent Discography

Amateur Astronomy: http://northatlanticdrift.bandcamp.com/album/amateur-astronomy

Canvas (first full album): http://northatlanticdrift.bandcamp.com/album/canvas

Scholars of Time Travel: http://northatlanticdrift.bandcamp.com/album/scholars-of-time-travel

*****

This is a solicited review.

Posted by wajobu | April 10, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Ambient, Audiokarma.org, Brian Eno, Daily Audiophile, Drone, ElectroAcoustic, Electronica, Erik Satie, Experimedia, Guitar, HifiZine, Instrumental, Music, North Atlantic Drift, Review, Robin Guthrie, Rock, Sound In Silence, Stars of the Lid | Leave a comment

Concert: Zammuto with Valgeir Sigurðsson and Nadia Sirota at the Spaceland Ballroom, Hamden, CT March 29, 2013

Zammuto

http://zammutosound.com/home.cfm http://www.thebooksmusic.com/ http://temporaryresidence.com/

Nick Zammuto – Guitar and Electronics, Nick Oddy – Guitar and Keyboard

Mikey Zammuto – Bass, Sean Dixon – Drums

Valgeir Sigurðsson

http://valgeir.net/ & http://www.bedroomcommunity.net/artists/valgeir_sigurdsson/

Nadia Sirota

http://www.nadiasirota.com/ & http://nadiasirota.bandcamp.com/

Promoter and Venue

http://www.manicproductions.org/ & http://spacelandballroom.com/

I missed the last Zammuto tour in 2012, so I was determined to go see them this time around—and it was a great coincidence that they ended up stopping so close by in Hamden, Connecticut at the new Spaceland Ballroom with promotion by Manic Productions from nearby New Haven. Valgeir Sigurðsson (producer and founder of Iceland’s Bedroom Community record label and Greenhouse Studios) and violist Nadia Sirota started the evening’s show with an introspective and sensitive performance of work from Nadia’s latest album Baroque and Valgeir’s album Architecture of Loss (in addition to some earlier VS work). I think that the performance would’ve been enhanced all the more with a better piano and subwoofer system, but their performance ranged from the contemplative (my son says “chill”) to visceral. I’m less familiar with Sigurðsson’s and Sirota’s individual works, but this performance was a great introduction. My only other hope for this new venue is that the lighting improves to allow one to see the musicians better during their performances (and perhaps some more tables and chairs).

I’ve followed Nick Zammuto’s work since his days with The Books, and have appreciated his mining for music and inspiration in unexpected places, whether from old or new family home movies to skillfully edited (often bizarre) instructional videos. The humor and wordplay also makes his work all the more attractive. The difference (to my ears) between The Books and Nick’s latest incarnation in the band Zammuto is that the music is even more rhythmically infectious and at times, downright joyful. I also appreciate that Zammuto has created in their first eponymous album music created by artists staying true to themselves and their work—always pushing the boundaries and seeking inspiration from the most unlikely of places…making the serious silly and the mundane musical…and to be doing it in beautiful Vermont is all the more enticing. Their work is also an example of what I see as a proper usage of auto-tune technology—not to correct a singer who can’t sing, but to enhance the statement of the art and sound.

Last night’s set was tight, energetic and enhanced by a multimedia show of short films synchronized to the music. Much of the songs were taken from the latest Zammuto album on the Temporary Residence (independent) label. We were also treated to some songs from The Books era, a Paul Simon cover and some unreleased tracks. This was the second performance by new guitar/keyboardist Nick Oddy and he has immediately absorbed the often intense and delightfully quirky parts that Gene Back (up until recently) contributed to the band—bravo!

Zammuto Set List: 1) Groan Man, Don’t Cry, 2) The Shape Of Things To Come, 3) Idiom Wind, 4) Too Late To Topologize, 5) Zebra Butt, 6) FU-C3PO, 7) Harlequin, 8) Fifty Ways To Leave Your Lover by Paul Simon, 9) Yay, 10) The Stick, 11) Tahitian Noni Juice – That Right Ain’t Shit – from The Books The Lemon of Pink, 12) Classy Penguin, 13) The Greatest Autoharp Solo of All Time – A remarkable bit of video/sound editing!, 14) Smells Like Content – from The Books – Lost And Safe and the non-encore 15) The Fig and the Finger

If you haven’t seen Zammuto live yet, go see them—it was a very memorable concert. The link to their current tour is noted above, and I’m told that Nick is working on material for a new album.

****

Please note that all photos are by wajobu.com unless the image is suffixed with “IAB”, in which case it’s by Isaac Burns. We retain all copyrights to the images, but if you choose to borrow or share an image, please at least credit one or both of us. Thank you.

Posted by wajobu | March 30, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Ambient, Audiokarma.org, Daily Audiophile, Drone, ElectroAcoustic, Electronica, Experimental Music, Guitar, HifiZine, Instrumental, jazz, Manic Productions, Music, Nadia Sirota, Nick Zammuto, Progressive, Review, Rock, Spaceland Ballroom, Temporary Residence, The Books, Valgeir Sigurðsson, Vocal, Zammuto, Zammutosound | 1 Comment

Concert: Stick Men – Infinity Hall and Bistro – March 27, 2013

Stick Men: https://www.facebook.com/stickmenofficial

Tony Levin: http://www.papabear.com/

Pat Mastelotto: http://patmastelotto.com/

Markus Reuter: http://www.markusreuter.com/

Stick Men dot Net will take you to: http://iapetus-store.com/album/deep

I’m not often prone to numerical connections, but it occurred to me last night on the long quiet drive home from the woods of northwestern Connecticut that here I was in year 13 of this century and it has been (almost to the day) 31 years since I had last seen Tony Levin on stage in Syracuse, New York with the 1982 incarnation of King Crimson (Fripp, Bruford, Belew and Levin) in support of their incredible return album Discipline. Although Tony Levin might disagree, to my eyes his energy and spirit hasn’t aged a day in those 31 years. Last night’s concert in Norfolk, Connecticut was an incredible display of musicianship, sound and an intimate connection between the musicians and the audience (especially in a small hall like Infinity with great acoustics, sound system and a beautifully restored historic building).

In one way or another this trio of Tony Levin, Pat Mastelotto and Markus Reuter all have a connection to King Crimson (and Robert Fripp) in various incarnations and ongoing KC ProjeKcts, but Stick Men while embracing KC’s influential work, have continued to develop their own voices in progressive rock including vital relationships with other bands, artists in addition each members respective solo work.

The Bows Come Out!

The set list last night was largely from their new album DEEP (all but two tracks) in addition to some real treats. Tony Levin made a special point to express appreciation to the audience for being so receptive to the new material, rather than insisting on hearing only the old (including many King Crimson favorites)–in effect progressive rock music…PROGRESSES. One thing that I wanted to see after listening intensively to DEEP is just how much of the melodies each instrument would take, and I was surprised to see that many sections that I thought were coming from Reuter’s Touch Guitar turned out to be melody exchanges between Reuter and Levin (the Chapman Stick being an extremely versatile instrument—not just for the bass line). Here are the tracks (along with some brief notes…not on every track, and nothing that I can write will do justice to the intensity and clarity of the sound last night–something to be experienced first-hand!):

1) Nude Ascending Staircase: As is the beginning of the album DEEP, this performance set the tone for the entire night, a seriously raucous (and fun) sound with deep visceral notes from Levin’s stick.

2) On/Off

3) Crack In The Sky

4) Breathless (from Robert Fripp’s 1979 solo album Exposure): This Fripp album is incredible, and it’s still as vital as when I first placed the LP on my turntable in 1979. This was an absolutely shredding performance of this piece. Markus Reuter’s faithful interpretation of Fripp’s work (searing guitar) was just chilling. The trio seriously cooked on this.

5) Cusp

6) Infinity Improv (free improvisation): Tony Levin noted that they record each of their performances (and I had noticed some stage and ambient microphones on stage before the show) in the hopes that some of the improvisations and recordings could lead to future releases.

7) Horatio: Thunderous!

8) Whale Watch: Tony Levin noted that despite his many years of having played the Chapman Stick, he was still learning more about what the instrument could do (and its often unpredictable results). He noted that some nights Whale Watch could turn out differently, depending on whether the instrument needed to be wrestled to the ground (I’m paraphrasing). It’s the story of being on a whale watch, from the start of an ocean journey to spotting, pursuit and arrival to see a whale up-close.

9) Industry (from the 1984 King Crimson album Three of a Perfect Pair): The growl and electronic percussion.

Pat is A-blur

10) Hide The Trees: The growing tension, exchange and release in this piece is deliciously enticing.

11) Open, Pt. 3 (from Stick Men’s 2012 improvisation-based album Open)

12) Larks’ Tongues in Aspic, Part 2 (from the 1973 King Crimson album Larks’ Tongue in Aspic): It was exciting to hear this piece live again, as it was in the concert in 1982 (and previous KC concerts that I had attended)—also, on the heals of the recent 40^th anniversary release of the re-mastered album.

Tony Levin playfully taking a stage photo for the ongoing Crimson Chronicles

13) Encore: A Stick Men arrangement of Stravinsky’s Firebird: Let’s hope that this ends up on a future live album—a forceful and experimental rendition of Stravinsky’s 1910 work.

After the Encore

It was a real treat to observe the persona of each musician on-stage: Tony Levin’s classic broad stance and kinetically expressive movements (resulting in many blurry photos!), Markus Reuter’s calm scanning of the crowd as he switched from touch-fingering his guitar to using it in a more conventional guitar-stance, and Pat Mastelotto’s highly expressive performance on percussion and electronic devices—and just when I thought that he had no more tricks in the bag, out he’d pull even more paraphernalia, including a bow!

At one point during the night Tony Levin noted that King Crimson was still alive, not broken-up, yet (somewhat comically) Levin noted that Robert Fripp had recently attended a Stick Men show (and paid for his ticket, despite a guest pass) and in response to a question about when a King Crimson tour might occur again, Fripp responded “Pain.” I think Mr. Fripp has moved on, and is enjoying his semi-retirement and over-seeing of the re-mastering and re-releasing of their massive archive of concerts and other recordings.

If you’re within striking distance of a Stick Men show—please go see them! They’re appearing at the Iridium Jazz Club this Friday (March 29) and Saturday (March 30) nights in New York City. I’m sure they’ll be on the road again soon. Bravo and thank you to the Stick Men! Oh, and buy their new album DEEP–see also this great review of the album by my friend over at Horse Bits: http://horsebits-jrc.blogspot.com/2012/11/deep-by-stick-men.html

****

Note: Click on any photo to see an enlarged version. Please contact me if there are any factual errors in what I have written above. I have many other high resolution photos of the show, and if you chose to copy or repost any of the photos, please credit me “wajobu.com”. You can’t see them, but the photos ARE watermarked.

Cheerful Pat!

Posted by wajobu | March 28, 2013 | Categories: Uncategorized | Tags: AffordableAudio, Audiokarma.org, Chapman Stick, Concert, Connecticut, CT, Daily Audiophile, Electronica, Eraldo Bernocchi, Guitar, HifiZine, Infinity Hall and Bistro, Instrumental, jazz, King Crimson, Markus Reuter, Music, Norfolk, Pat Mastelotto, Progressive, Rare Noise Records, RareNoiseRecords, Review, Robert Fripp, Rock, Stick Men, Tony Levin, Touch Guitars | 1 Comment

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Concert: Zammuto with Valgeir Sigurðsson and Nadia Sirota at the Spaceland Ballroom, Hamden, CT March 29, 2013

Concert: Stick Men – Infinity Hall and Bistro – March 27, 2013

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