White Vinyl LP limited to 260, 30 premium include an ant’lrd split cassette with specialty insert. Time: About 42 minutes
Tracks: Vanishing Procession, More Washed Feeler, Obscured and Waiting, Two Mirrors Looking, Fogged Placer
With respect to music genres, where does ambient end and drone begin? Can music help to offer a refuge, focus the mind or distract it? Fog Mirror flirts with all of these possibilities. I admit to being puzzled at times on why some music needs to be so heavily shrouded with the melodic aspects pushed nearly out of reach, yet unexpected benefits can occur, like vanquishing a worrying thought, eroding it with sound. Admittedly, I don’t always understand the approach, but I appreciate the intent, especially if the quality of the recording is full and not bleached-out into an unpleasant monophonic haze.
Remember the moment in the original Star Trek pilot episode The Cage when Captain Pike and Mr. Spock touched a plant on the forbidden planet Talos IV? The layers of sounds emanating from the alien plants and the remaining ambient atmosphere were revealed…Spock even smiled. Never seen it? Here’s a reminder…
The point is, there is often an overall gestalt to sounds, music and atmospheres, being greater than the sum of their parts, and there is mystery and intrigue in imagining how those sounds were created if those parts were to be disassembled. The layering creates unexpected harmonies and overtones, and even unrelated memories of events can be activated.
Braeyden Jae’s latest album Fog Mirror (Braden McKenna’s nom de plume) clears the mind yet it can steer its focus in rather curious ways. Each piece has a perceptible aggregate tone (whether major or minor, deliberate or unintentional), and some tracks stay relatively stable, almost devoid of a perceptible melody, whereas others meander and ruggedly thrash beneath the haze. McKenna carefully disguises the sources of his sound generation, which I’m guessing are varying degrees of fuzz applied to an electric bass, piano (literal in Obscured and Waiting, but veiled elsewhere), along with various effects, treatments, noise and perhaps some field recordings. The illusion of water and wind, which appear to be created synthetically, are prominent throughout, offering the effect of cleansing, even if it suddenly appears as a deluge. Another quality of the recordings is the “Did I just hear that…?” aspect of the layering, like walking in the dark and seeing something move nearby or the flash of something moving beneath the surface of a body of water.
Vanishing Procession is like sitting behind a gentle waterfall with occasional peeks through the cascading water to a scene beyond, or sitting on an open porch with rain falling as time passes slowly by. There are some similarities the works of Nicholas Szczepanik, but McKenna’s variations in the layering of the sounds are more subtle. In contrast, More Washed Feeler is practically a deluge with a undercurrent of recirculating ascending and descending notes, a sonic mantra of sorts. Seven minutes into the piece, the torrent is forced open slightly to reveal a swirling undertow.
A steelier resonance is present in Obscured and Waiting, with a slow pulsing piano. This is the most identifiable, melodic and peaceful track on the album with a wooly-fuzz bass occasionally piercing the quietude off in the distance, sounding like shortwave radio sawtooth-wave interference. The piano evolves into sounding like far-off carillon bells. This is a rough-edged version of portions of Budd and Eno’s The Plateaux of Mirror.
There’s a veiled rhythmic gait working against a counterpoint of concealed peeling bells in Two Mirrors Looking. It’s more industrial-sounding with an undercurrent of an old shipyard recorded just below the surface of the water with a sudden harmonic shift at about 6-1/2 minutes as perhaps a ship’s screw passes by on its journey out to sea. The last and longest track on the album, Fogged Placer, I actually perceived as being the shortest—a rather odd time-shifting experience. This track allowed a memory of mine to return, back to the days when I commuted periodically to the Adirondack region of New York as a passenger in a twin-engine Piper aircraft—sitting in the back listening to the two engines shift the timing of their revolutions slightly, generating hypnotic vibrations and harmonics that were transmitted into the plane’s fuselage. At certain moments, it also sounds like watching a blanketed symphony performance, with my ears isolating the cellos and double-basses.
Finding a semblance of peace in absolute silence these days can be rather difficult (especially when unwanted tinnitus randomly appears), and an album like this can help achieve a frame of mind that allows an imaginary escape to evocative places and memories.
An aside, I wonder if Braden McKenna has ever heard the opening side of the 3 LP set of Consequences, by Kevin Godley and Lol Creme, produced in 1977? I could hear some similar background atmospheres, although the resulting piece is quite different.
1) glide 2) of a feather 3) rafters 4) watcher 5) duo 6) flutter 7) flying south 8) head cut off 9) nesting 10) caged 11) skitter 12) twin crested peaks 13) albatross
M. Ostermeier: piano and sounds
Christoph Berg: violin on glide and of a feather
Photography: James Luckett – consumptive.org
In my part of the world, some birds that used to winter elsewhere now seem to stay here, but many still migrate: from swallows by the millions (spectacular departure throughout October) to songbirds like warblers to the more solitary bald eagles that pass through here on their way to nesting areas along local rivers and up to the Adirondack mountains in upper New York State. Just before the first break of Spring, woodpeckers return or emerge and the local forests can sound like giant marimbas as the oversized pileated variety pronounce their territorial claims, rapping on hollow trunks.
M. Ostermeier’s latest album is the avian themed Tiny Birds. There is a slightly different approach to Tiny Birds compared with his prior album still on Ostermeier’s Tench imprint. The piano instrumentals on still tend to meander somewhat with more liberated abstract forms whereas Tiny Birds is a more controlled series of repetitive melodic vignettes with variations—perceptive yet humble etudes with minimal embellishment or peregrinations—some more dulcet than others.
Despite their apparent simplicity there is still a great deal of subtle texture and depth in the recordings, and notwithstanding initial minimalist appearances, Ostermeier is quite adept at layering and revealing micro-sounds into his recordings, as in his earlier album The Rules of Another Small World. Soundscapes can be taken in as a larger whole while in a place or one can focus on the intimate.
The overall mood in Tiny Birds is mostly comfort with varying passages ranging from delicate to vibrant, but never jarring. The point of view is that of a bystander in quiet contemplation observing the moments, and as a result the music evokes visual memories. I try to resist comparisons to the works of others, but this one locked in my head and I couldn’t shake it: there are connections with some of Satie’s works and the pace (without vocals) is reminiscent of Brian Eno’s two meditations: Julie With and By This River from his 1977 album Before and After Science.
Aside from Ostermeier’s piano and delicate melodic and percussive treatments, Christoph Berg enhances the first two tracks, glide and of a feather with deftly restrained violin accompaniments. It also sounds like there might be some cello in the somewhat mournful flying south, adding weight to the depth of the long cyclical journey. A piano is generally the foundation throughout, and in glide the violin moves in and out of earshot like a golden eagle riding thermals high-up in the sky on the edge of human sight. Of a feather has slight chordal shifts and Berg responds to the piano phrases with a gentle sway.
In summer days of my youth, some of my family used to help a farmer hay his fields and then methodically transfer hay bales from carts into an old barn loft while barn swallows were on the wing above in the rafters—this reminded me of those days, many years ago. Alighted and above, in the breezes, is the watcher, with languid wind chimes below, in a subtle duet. And as if in mid-conversation, duo picks up a somewhat less structured dialog between two birds in trees (is it an actual transcription?), like sometimes at dawn when windows are open and two great horned owls are conversing from opposite ends of the yard, or two robins singing their evening-song at dusk. Some visceral low frequencies pass through this too.
The most musical piece on the album, flutter, is at first a duet, then a trio, perhaps even a quartet, with brisk playful variations on the original melody. head cut off is a slow meandering stagger of sobering paired tones (no birds were harmed in the recording of this…I assume!). Gentle rustling with more intimate microphone placement at the piano, nesting has a slightly voyeuristic quality of a webcam keeping an eye on birds and chicks in a tree, safe from dangers below while swaying quietly in the breezes. The monotony of confinement is depicted in caged, where there are few changes with the passage of time. Skitter has five, perhaps even six sections with both an untreated and a slightly phased piano, punctuated by pure tones in between the melodic phrases. Twin crested peaks is a hypnotic call and response, with the regularity of an EKG taken at rest.
albatross can have several meanings, a golf term (AKA double-eagle, a rare three under par—a bird reference!), a psychological burden or the majestic sea bird with an enormous wing span (up to an incredible 12 feet) and they are often long-lived. There is a tagged female Laysan albatross named Wisdom that has returned to Midway Island for at least 63 years, and this year she mated and had another chick (estimated to be her 36th)– truly remarkable. This closing track is graceful of flight and steady, yet it carries the enduring burden and insight gathered with the passage of time.
My favorite tracks on the album are: glide, of a feather, flying south and albatross.
This is a solicited review.
Label: mopstudio CD-R (Gatefold case with artwork by Mahnaz Esmaeili): MST 001 Time: 51:59
CD available at: http://www.mopstudio.com/site/
Digital files available at: https://salvatorepassaro.bandcamp.com/releases and at iTunes
Tracks: 1) Stone 2) Touch 3) A Light 4) Dream 5) Memory 6) Next 7) Circular 8)Blue 9) Overwhelming 10) Early Morning 11) Settembre 12) It Is 13) Trip 14) Sinestesia
There’s a somewhat enigmatic quality to this album: the instrumentation, what might have inspired the work and to a certain extent, Mr. Passaro himself. What I do know is Italy-based Passaro’s last work, a collaboration with Carlo Cossu entitled Earth, was released approximately 15 years ago, and there are some excerpts from that collaboration scattered around the internet (which I chose not to sample). Since I’m a bit of an equipment geek, I normally find background helpful, although I’m told by some musicians, “…never reveal your secrets…” Despite the album’s title, Overwhelming is a relatively calm offering that exists within a fairly narrow emotional range, with minimal sonic distractions and melodic directions. Whether spontaneous or scripted there are moments where Overwhelming leans toward the ambient music genre with an occasional sense of place, and others where it’s nearly sleep-inducing devoid of an identifiable physical realm, yet the music generally hovers somewhere in between.
The instrumentation (real and/or virtual?) appears to be primarily electric guitar, piano and some electronic keyboards with various effects and treatments. The strongest sonic nudge is the opening track, Stone with purer sounds that are woven and sustained. Only near the end more forceful tones and grit enter the soundscape. Touch is more spacious with grainier qualities. Then the album settles into a more pleasant, swaying and peaceful interlude with A Light, Dream, Memory and Next. In this section places and memories are evoked with veiled sounds of a shoreline, wind, voices and the outdoors. Next is the most restful.
Many of the pieces seem to be improvised with minimal underlying structure (I could be entirely wrong). Circular has drifting voices co-mingling with piano and keyboards. Blue continues with even more random bell-like notes (perhaps on a heavily processed piano) until there appears to be momentary references to Vangelis’ Memories of Green. Ironically, the title track Overwhelming is one of the more sedate pieces on the album with gently rolling voices mixed with guitar and keyboards. Whereas, relatively true to its title, Early Morning has sounds emerging and blending much like the rising Sun as colors of a new day are gradually revealed as darkness wanes. Settembre is plucky, gritty and random. Phased, flanged and wandering is It Is, and Trip gently winds-up and then coasts with scenery wisping by in slow-motion. Sinestesia closes the album and is the haziest, layered and trance-inducing track, and it doesn’t stray far from its central sonic focus.
The CD version of the album is available directly from the artist at the website noted above with digital versions available at Bandcamp and iTunes.
This is a solicited review.
Twice Removed TR051 CD-R Time: 29:21
Tracks: 1) Awakening 2) Black Sea 3) The Quiet Rust 4) Passage 5) Echoes 6) Behind These Walls 7) Thaw 8) Distances
Buried and Resurfaced is the final release, of 60 albums and EPs, from the Twice Removed record label. Label curator Gavin Catling, in far away (from me) Perth (western) Australia, has done a fine job of bringing artists and musicians to our attention since 2011, and I’m sorry to see him put the label to bed, but understand his desire and need to bring the project to an end.
This album arrived here at an interesting moment; I had recently done some reading on the gradual and tragic decline of the Aral Sea between Kazakhstan and Uzbekistan. Some of what I have read and imagined about the decline of that landscape seems to have parallels in René Gonzalez Schelbeck’s musical creation, even the title. I have also just seen Guy Maddin’s adventurous, liquid-time-bending and bizarre film, The Forbidden Room, and in many ways Buried and Resurfaced could have been a soundtrack for that film. The film is an homage to old lost and often quirky movies, which Maddin reimagined, and they are collected as an amorphous omnibus that is almost beyond description and, at times, comprehension.
Another parallel to Buried is it can be beheld as either individual pieces or part of a larger whole with a real or imagined narrative. The tape-decayed and modulated passages in Buried blend remarkably well with Maddin’s visuals (firmly planted in my memory—it’s an intense film). The possible album storylines I have posited are two possible accounts, but there are many others, despite what might be the actual intent (if any) of RG Schelbeck.
There is an ancient and mysterious quality to the music from the start. Tape decay and flutter produces wrinkles in the perceived time continuum. The electric guitar is also well disguised with bowing, modulation, and effects, often yielding qualities akin to a long-neglected Mellotron or Chamberlin.
Awakening is the languid preparation for the journey and pending storm. Black Sea has a dark foundation and buffets with macabre winds lashing a hull at sea and occasional sonic breaching of the portholes (this piece is an especially perfect match for Maddin’s film). Quiet Rust is a peaceful yet unsettling aftermath to the storm with its sustained and reverberant atmosphere (this track is well mated with Schelbeck’s companion video: scenes of San Francisco after the devastating 1906 earthquake). It also reminds me a bit of Kane Ikin’s and David Wenngren’s collaboration Chalk from their 2012 album Strangers.
Being cast adrift in an increasingly dense fog is the texture of Passage with expanding and layered dark droning strings. Echoes pulses above and near before vibrating from the depths (a subwoofer helps to enhance this). Sounds move near, then are distant and fade into the ether. The most active and sweeping of the tracks is Behind These Walls, as if the storm of Black Sea returns, this time on land with squalls lashing relentlessly. I think I hear the warm and familiar hum of a tube amplifier in Thaw, with the percussive plucking of strings, as if water is dripping from ice in a warming sunshine. Buried and Resurfaced closes gently with the reflective and contemplative Distances with far off sounds of (perhaps field recordings of) nature absorbed into the haze.
My one criticism of the album (also a compliment), is the abbreviated timing of some of the pieces makes them seem rather elusive. Just when settling into the immersive aura of the music, some tracks fade away too soon, and I was left hoping that each would last longer for a more deeply enhanced experience. Perhaps extended versions might appear at some point in the future?
Trailer to Guy Maddin’s The Forbidden Room
This is a solicited review.
CD PR025 time: 40:53 (Also available as an LP, first 100 copies on coke clear vinyl)
1) Divine Waves – 12:11 2) White Wings – 8:53 3) Neon Mandalas – 6:58 4) Crown Canal – 12:48
Cory Allen: Hammond Organ, Harmonium, Tanpura, Rhodes Electric Piano, Violin, Voice, Mbira, Balalaika, Tibetan Singing Bowl, Gong, Tingsha Bells, Chinese Bells, Balinese Nut Shell Shaker
With Brent Fariss: Bass, Henna Chou: Cello and Lyman Hardy: Drums and Percussion
Preorder link: http://www.punctumrecords.com/shop/coryallen-thesource
Without any prior guided experience to an astral realm of enlightenment, I feel a bit underqualified in commenting on certain aspects that may have influenced or inspired this album, but I feel perfectly at ease in speaking on the restorative nature of music, meditation and private contemplation. The mind is often so pre-occupied with distractions that thoughts become fragmented, confused, and the ability to concentrate is diminished—so at times a realignment is in order. Cory Allen’s new album, The Source provides a gentle yet intensive framework to cleanse the mind and re-focus awareness. In tech-speak: defragmenting the hard drive.
The Source, I think, is both a reflection of Allen’s own achievement of radial balance and self-unity, as well as a sonic guide for others to experience. With repeated auditions of the album, awareness of both the individual instrumentation and the gestalt of the overall effect of the work increases. For those less familiar with Cory Allen’s oeuvre, and before listening, an important aspect to keep in mind, is to suspend conventional expectations of musical structure and melody, and allow oneself to be drawn into the experience of both listening and feeling the sounds in the recording. Also, Allen’s work often uses a loosely rules-based construction including guided improvisation.
Divine Waves slow-dances on the edge of something resembling a liquid jazz with the initial two, three and four note phrases exchanging between cymbals and bass (plucked and later bowed). A tanpura joins the ensemble and its whirr is sustained by merging with the bass, cymbals, and chiming of inter-mingled bells and bowls. I hesitate to say that the cello is a later mournful addition to the group, yet it adds a wistful calm with an electric piano gently weaving throughout. The instrumentation in the latter part of Divine blends into a soft vibrating drone and is as much about the sound heard, as well as the interaction of the vibrations being felt (to experience this, I recommend listening with well-placed speakers at a volume roughly equivalent to match the original live sound of the instruments versus using headphones).
Initially focusing on the interplay of two and four notes phrases on a balalaika, White Wings’ bowed cello and bass, drums and harmonium absorb and weave while stretching varying dissonances. A first sonic alignment appears at a little more than two-and-a-half minutes, before meandering many times again with loose guidance (visually, like a flock of migrating swallows as they gather in the autumn, at sundown, seeking a resting place for the night).
The most intensive experience on the album is within Neon Mandalas; initially there is a chorus of deeply toned voices (which I think should have extended even longer), and once held in that realm, other elements are introduced with their fleeting movements (percussion, drums, bass and tanpura). A choir of gently plucked Mbiras (like a gentle steady rain) and bells provides a sonic background for an emergent and focused organ that dissolves into a returning familiar plucked acoustic bass phrase—a sort of arrival.
Crown Canal seems to represent a departure, reflecting on the fullness of the experience. The cello has a somewhat somber recurrent melody, reminiscent of a recessional or postlude, and has a tonality of resolution within a duo of a harmonium and tanpura. The ensemble is gently punctuated with percussion and voices. Despite being the longest piece on the album it has a curious absorptive quality, which compresses a sense of time, while achieving a state of steady entrancement.
The more I have listened to this album, it seems there is a general framework describing Allen’s own experience—the album appears to be a journey in four parts, describing what I interpret as: preparation, journey, arrival and return. The recording and mastering achieves a profound clarity and realism that I have come to know in Cory Allen’s previous albums, The Great Order and Pearls that feel as if the listener is within the environment where the music is being created.
The Source will be released on June 30th, 2015.
More on Cory Allen’s previous albums that I have reviewed can be found here.
The vinyl version of The Source–beautiful color!
This is a solicited review.
CD Time: 57:57, Digital, 300 copies of CD or 150 copies of Deluxe CD #CCL011 & #IR003
Tracks: 1) Paisaje Primero, 2) Paisaje Propio, 3) Paisaje Artificial, 4) Paisaje Natural
Websites: http://damiananache.com.ar/ &
Think of the hour just before sunrise, in Spring especially, the Sun hasn’t yet peeked above the horizon. The songs of birds and sounds of other animals slowly rise with the Sun. Eventually there is a wondrous sonic aura filling the morning, until the Sun is firmly in the sky and the impromptu performance gradually fades. A similar effect occurs at sunset as the gentle evening-song of birds and other fauna greet the night. The sound landscape can, at certain locations, grow to be almost deafening, yet there still remains a feeling of ease and relaxation. Other sounds might enter: wind, rain, trees moving, a distant coyote howling to its pack or even the sounds of a city or shipyard. Taken as a whole, the soundscape has no apparent patterns or melodies, and it spontaneously exists without apparent forethought or design. Isolate individual elements with the ear and some patterns may be detectable, whether from a songbird or the rubbing of an insect’s wings.
Although Argentine composer Damián Anache’s method of creation for his debut album Capturas del Único Camino is different in its technical execution, the resulting experience is similar to how sound is generated in our environment. Anache’s works have been performed at events at the Conservatorio Santa Cecilia (Rome), National University of Cordoba (Argentina), Museum of Modern Art in Ecuador (Quito) and the Cultural Center of Spain in Buenos Aires, among others, in addition to his guest musician appearances at several performances of live experimental music, and as a producer of local rock bands in Argentina. This album is also an outgrowth of the research project Spatial Sound Synthesis in Electroacoustic Music, directed by Oscar Pablo Di Liscia at the National University of Quilmes.
In Capturas, Anache prepared a collection of recordings using acoustic instruments (piano, guitar, glockenspiel, percussion, etc.), voices (the composer’s voice, including falsetto), electronics and field recordings of water (distant and near-field). He then generated a series of four interconnected soundscapes using a software-based technique to randomly select and place the recorded sounds into an interlocked linear progression (I’m not familiar with the software, so I’m taking this at face-value). While the recordings are largely abstract, non-representational of place and without identifiable melodic or harmonic structure, they can be quite spatial in their interaction with each of the other recorded elements. There are also transitions between the four parts where fragments of the subsequent movement appear towards the end of the previous movement coupled with a mild crescendo to generate a disguising sleight-of-hand between the sections.
In Paisaje Primero, strings are plucked, hammered and bowed lightly, percussion is struck gently and the sounds are untreated and naturally resonant. This is the softest and most spacious of the four movements, more furtive than calming, and is without a detectable melody or pattern. Voices appear in Paisaje Primero within about two minutes of the transition to Paisaje Propio. There are also gentle whispers and hushed vocalizations combined with placid trills and hisses. At times, the voices have a character of bowed strings, and I could be wrong, but I also detect some sounds of what could be a cello.
Near the close of Paisaje Propio synthetic sounds are combined with the voices and the character of Paisaje Artificial shifts quite dramatically from the acoustic environment of the first two movements. Paisaje Artificial is more industrial with a static-electric atmosphere, where sounds could be generated by the interaction of conflicting frequencies of radio interference or magnetic waves as one moves through space. Some sounds are pure sine-wave, and the higher frequencies are crystalline and sometimes piercing; so the listeners’ ears should be somewhat prepared, especially if headphones are in use. On the cusp of passing from the Paisaje Artificial realm, the electronics seem to be mildly treated for the appearance of water in Paisaje Natural. Water is presented near and far, as drips, a stream, bubbles, waves and perhaps rain falling from a roof to the ground. There are short cycles in this piece that last about three or so minutes, like passing rain showers, so there is not only gentle motion in the individual recordings, but also in the overall movement. Near the mid-point of Paisaje Natural the sounds of birds appear in the distance, and the treatment of the recording shifts from one existing within the recordings to one of observing from a vantage point of some kind of shelter (this may be unintentional, and purely my own interpretation).
Capturas del Único Camino is well-suited to both a pure listening experience or as part of an audio-visual installation. Despite its apparent minimalist structure and execution, Damián Anache has created a curiously soothing yet complex realm in his debut recording. Rise early in the morn or linger at dimmity, and let the music be revealed.
This is a solicited review.
Label: Sound of Jura http://www.soundofjura.com/
SOJCD1501 CD Time: About 36 minutes
Tracks: 1) Semi-Precious, 2) Come Over To Me, 3) School Of The Heart, 4) Spinneret, 5) The River To The Cave, 6) If We Were Free, 7) Namesake, 8) Mote, 9) Infinity Pool, 10) Whey-Faced Phantoms, 11) A.J., 12) Memory’s Like A Hunting Hawk
Youth, on the verge of adulthood, in search of meaning and perhaps companionship. Young enough and determined to look forward and hope and old enough to reflect on memories and retain some wisdom from experiences; this I interpret to be the theme of Karl Culley’s latest album Stripling. This is Culley’s fourth album, and he now lives in Krakow, Poland, where the album was recorded, but still with strong roots remaining in the north of England and Scotland. His previous albums are: Bundle of Nerves, The Owl and Phosphor.
The songs on Stripling range from hypnotic meditations to something that might cause a gathering of folks (in a pub, perhaps) to spontaneously dance (or at least vigorously toe-tap). The sonics are relatively intimate and unadorned: It’s Culley, his guitar and his voice, but it’s a deeply resonant recording. Contrary to some of his finger-style guitar contemporaries like William Tyler, Daniel Bachman or James Blackshaw there are no lengthy rambling instrumentals. The songs are penetrating and get right to their point with an atmosphere, a memory or story. While others have made comparisons to the work of John Martyn and Bert Jansch, I’ll add the early acoustic works of Gordon Lightfoot (with echoes of his subtle vocal warbles) and the technical crispness and vigor of John Jorgenson and Tommy Emmanuel.
Judging from the reflective nature of his lyrics, it seems like Culley’s work takes time to gestate, but once a piece is fledged it’s cohesive and thoughtfully formulated. There are curious ironies and juxtapositions between rhythms and words. The somewhat brief Come Over To Me seems to be based on heavy subjects, yet the meter, fingerings and melody are lively, but not exactly upbeat. Mote has lyrics (“Floating like a mote through sun or angels trapped in amber, we fall…”) that reference the abstract yet there is a steady grounded rhythm and melody. Whereas Semi-Precious, School Of The Heart, Spinneret and Namesake are reflective, even tender meditations, with the rhythmic fingerings of Spinneret reminiscent of some of Nick Drake’s work—and there is a humble elegance in Namesake.
The mood of a song and lyrics can also be direct and related like the more serious The River To The Cave—not sentimental or wallowing, but observant of circumstances. Vibrant lyrics and melody align in If We Were Free, with much of the verses being slightly-pitched spoken word observations with the final incantation “3 men are lowered into the ground…” abruptly punctuated with silence before returning one last time to the vigorous refrain (reminds me of Richard Thompson’s work).
Stripling isn’t without musing, delighting in the possibilities of enjoying a figurative or literal swim in the reverie of an Infinity Pool—it also is curiously similar rhythmically to the acoustic version of Layla that Eric Clapton recorded a number of years ago. There are also moments where advice is presented or experiences recounted as in Whey-Faced Phantoms, which evolves into a cautionary mantra and A.J. recalling the desolation of unexpected endings—in both, the melodies and harmonies echoing the starkness of a mood.
The album closes with Memory’s Like a Hunting Hawk, intensively focused with desire. There is, however, a pensive gentleness in the longing…solemn and hauntingly lyrical all at once. Also of special note are the pen and ink illustrations that decorate the CD and cover, as if from a notebook of youth: pondering, exploring, even brooding yet freely expressing. This CD made a long journey to me, and I’m glad it finally made it.
This is a solicited review.
Eilean Rec 88 CD Time: 40:53
More on Twigs & Yarn: http://www.twigsandyarn.net/
Tracks: Hibernate, Sonora, Channeling, Cave Bears, In the Valley, Lend a Hand, Laelaps, Floes
Lauren McMurray and Stephen Orsak are Twigs & Yarn, and on their previous album (The Language of Flowers, my favorite album of 2012), the duo created it over a great distance (between Japan and Texas). Their work presses all the right buttons for me: it’s inventive, tender, melodic, and at times unexpected. T&Y takes me on a new journey every time I listen, yet there’s an inexplicable familiarity that I find comforting. There is also a curious child-like quality of discovery in the music.
On April 5th, 2015, Twigs & Yarn did a live segment on KOOP Radio in Austin, Texas that was (thankfully) streamed over the internet, and T&Y noted they hope to release another album later in 2015. I will link to the recording of the program if it is posted by KOOP (EDIT: Here is the link to the entire program: https://www.mixcloud.com/fadetoyellow/episode-164-fade-to-yellow-still-forms-drift/).
Over the course of their new album, Still Forms Drift I wonder if there is an intentional arc of how the pieces were developed. I detect that the tracks move from more melodic to experimental, and from rhythmic to more atmospheric and subdued, so there is a nice combination of moods and progression on the album.
A layered sonorous hum opens and eases the listener into Hibernate; sounds eddy between the channels (headphone or speakers). The music builds gradually and blends into a delicate yet immersive fabric where voices and distant cloaked sounds are revealed. Sonora is absolute magic—so romantic, delicately rhythmic, playful and with a hint of some of Raymond Scott’s electronic experiments of the 1950s and 60s. As it progresses, there is increasing comfort, dissolving enmeshed sound, then melodic humming. Exploring the layers, with repeated listens is like a treasure hunt, but then just listen again and disappear into it. It’s like a tender and pleasurable whisper during a dream.
Channeling moves to the outdoors, contemplating with the fauna and environs, then dissolving into a trance of gentle guitar, voices and comforting pulses. Gradually, the reverie subsides and a gentle reality emerges. Cave Bears opens a bit like an antique bell-chime clock, steady and somewhat glitchy. Beats, shifted repeating sounds and guitar harmonics are added and the rhythm slows. In The Valley is another memory of place, although more ambient and disconnected compared to Channeling. There is a slight grittiness to it as it progresses, with sounds that are less tangible, as in the edge of a dream. Lend a Hand is a song with two different parallel veiled spirits; an expression of yearning that moves in and out of focus…one voice moves to the distance, but then returns; as if eavesdropping on a one-sided conversation weaving in and out of gentle waves of guitar and entwined low resonant hums…a slowly rocking boat in the doldrums.
Perhaps the most meditative (and curiously metallic) of the pieces is Laelaps. I speculate that it’s an evening of lying on the ground outdoors with gazes cast to the sky in contemplation. If I have my Greek mythology correct, it was Zeus who cast the dog Laelaps into the stars as Canis Major in pursuit of the Teumessian fox, Canis Minor. With a largo of synthetic electronic sounds and somewhat compressed voices Floes closes the album with hints of a lullaby reminiscent of a well-worn music box.
There is so much wonderful in this album, and I was instantly smitten.
This is a solicited review.
Label: InsideOut Music: Two Clear Vinyl LPs (with CD IOMSECD 417)
Time: About 65 minutes with bonus material (Other formats available)
LP 1: Side 1: Out of Body, Wolflight, Love Song to a Vampire; Side 2: The Wheel’s Turning, Corycian Fire, Earthshine, Loving Sea
LP 2: Side 1: Black Thunder, Dust and Dreams, Heart Song; Side 2: (Extra Tracks) Pneuma, Midnight Sun (with Todmobile), Caress (on LP 2, but not the enclosed CD)
After a pair of tremendously successful Genesis Revisited tours in Europe, UK, Japan and the US (with many sold out concerts and shows added due to demand), I’m thrilled that Steve Hackett is back again creating new music. He did the historic material from his Genesis era a worthy justice, clearly an important part of his life (and heck, mine too) and career, and some of that material will always be part of his live shows, but clearly it was time to move on to new things.
I was fortunate to have a chance to hear a preview of Wolflight in Steve Hackett’s studio in the autumn of 2014 and my immediate impression then was that the music is incredibly cinematic—vibrant sound and images in the tales unfolding in the music, whether vocal or instrumental. The music is drawn from experiences, places visited, dreams, nightmares, ancient history and inspired by love. I sense that there is still even a bit of delicately blended (and not yet completely written) autobiographical experiences.
Wolflight is an album of contrasts, from broad filmic passages, some briefly anthemic, to moments of delicate beauty. There is no formula being rehashed from his earlier work, but some elements that are pleasantly familiar are mixed with the inventiveness and varied regional instrumentation that I have come to appreciate in Hackett’s work throughout his oeuvre. Steve’s primary collaborators continue to be keyboardist Roger King and his wife Jo Hackett, along with live show bandmates and production team: Gary O’Toole, Rob Townsend, Nick Beggs, Amanda Lehmann, Benedict Fenner and others.
Out of Body is the eerie wolf-howl call and then energetic overture to the album, a brief taste of what’s to come. Title track, Wolflight opens gently, setting a scene of calm, but the challenges of the tale are expressed in orchestral and sharp-edged guitar solos in contrast with the acoustic twelve-string verses—a powerful title track that has proven to adhere well in my memory, despite the complexity of the piece. In addition to the contrast of sound there is also the irony of subject—that of pleasure in pain and the attraction of potential danger, which is the exploration of Love Song to a Vampire with Hackett’s hushed verses (almost a lullaby), powerful refrains and soulful peregrinations on his Les Paul guitar.
The Wheel’s Turning revisits some of the sights and sounds of works as far back as the album Please Don’t Touch—carnivals of inspiration and a bit of time-travel (with shades of his Squackett collaboration with Chris Squire in the marvelous song from the album A Life Within a Day, Divided Self). At first there’s the basic song then orchestral moves to a devilish romp with a brief homage to The Air Conditioned Nightmare (from the album Cured) and then his album Blues With a Feeling before returning to strains of Bach and the memory of that distant carnival. Creating a strong sense of place, Corycian Fire, after a gentle opening, Hackett uses his highly processed vocals like an instrument to accompany the orchestral, choral and regional instruments in exploring the history of an ancient underworld, which has some similarities to his earlier and less adorned instrumental Steppes (from the album Defector for those who have listened since the early days). Earthshine and Loving Sea are a respite from the album’s vigorous beginnings (an intermission similar to the days of changing a film reel in a theater). Earthshine, a classical guitar fantasy merges into the joyful twelve-string and vocal harmonies of Loving Sea, sailing freely.
Black Thunder rumbles with raw emotion; part history and part social commentary on slavery and civil rights struggles of Martin Luther King with an homage (in the liner notes) to Richie Havens (and his well-known song Freedom) who worked with Hackett on his second solo album. Dust and Dreams is at first a vamp of languid movements and drifting mirages that adds layers and builds to portray scenes of divergent impressions and ultimately it’s resolved in a returning to the comfort of Heart Song, dedicated to Hackett’s wife and creative partner Jo.
The bonus material on side 4 of the LPs (two solo guitar tracks on either side of a collaboration with the Icelandic band Todmobile) fits quite well with the overall album. Pneuma (translates as breath, soul and spirit) is a subdued rumination, a calming re-centering of sorts. Midnight Sun is powerful, melodic and pleasing in its chord structure and rhythms. Caress gently closes the album (which is on the LP, but not the CD).
Despite the sharp contrasts in the instrumentation and sources of inspiration, Wolflight is a very cohesive album, which upon a few listens will become deeply and solidly embedded in the canon of Hackett’s work. The Steve Hackett Band will be celebrating his 40 year solo career with a tour in 2015, Acolyte to Wolflight. I hope to attend a show (but tickets sell quickly!) and I urge readers to get tickets to a show, which will certainly be quite a visual and aural experience, as all of Steve Hackett’s concerts have been since the late 1970s.
Seeing John Edginton’s recent documentary Genesis: Sum of the Parts, one might be left with the impression that after Steve Hackett left Genesis in 1977 he went on to do a few minor projects and then disappeared into the ether. On the contrary, after his highly innovative work with Genesis during the tremendously creative period from 1971 to 1977, Hackett has had a varied and successful solo career of nearly 40 years with as many albums, including some well-known collaborations, songs in international charts (Wolflight is in the UK charts, as I write this), and a faithful legion of fans who are spreading his work to a new generation of listeners.
If anything, Steve Hackett is more vital and relevant than ever with new-found and ever-growing energy that belies the span of his career—continuing to blaze new frontiers in music and live shows.
Tench – TCH-07 CD: About 35 Minutes
Label and Information: http://www.tenchrec.com/TCH07.html
Tracks: Stasis, Division, Hang, Counterpoise, New Lights, Congruence, Inertia, Parity
I read something recently by a musician whose work I admire about disconnecting from modern life, even for a short while, and in the time away a sense of one’s true self may return, even briefly. During that time, relationships with others might even improve. The mystic writer of the Victorian era, Richard Jefferies also wrote of this in some of his essays in the latter part of the 19th century. The pace of what I call life’s ‘carousel’ is sometimes so dizzying, and at those moments, no matter what beckons it’s often time to get away and seek a refuge. Personally, my quickest solution is to go for a walk in the woods, or even local streets away from the din in the mind or work at the desk.
M. Ostermeier’s new CD Still offers a cleansing respite with both passive and active listening. It took a few tries (first while doing other things and then sitting and focusing on the music) to condition myself, but by the time of the third audition, I was tuned-in. Most of the pieces have a piano-dominant center, the primary melody or phrases, and there are sonic backdrops delicately stitched in which complement a given theme. The melodic arrangement is often more akin to Far Eastern rather than Western musical structure, but it isn’t always the case. There is no ominous darkness here, only soft and gentle light. In fact, Stasis opens the album as if the Sun is rising and shadows can be observed to course slowly across the camera obscura of the imagination.
From what I recall of M. Ostermeier’s splendid last album, The Rules of Another Small World, this work seems more focused on acoustic instrumentation with electronics and sampled sounds taking a more secondary role. The album is largely a preservation of the quietude, but there are moments as in Counterpoise, the only marginally forceful piece on the album, where after attention is grabbed it turns into an almost gentle pattering massage, which is eased with a slightly distant piano and other microtones. The fabric of Congruence is gently percussive, reminiscent of dampened marimbas. The CD closes at its most broadly sonorous and harmonic in Parity, with only a hint of foreboding, yet thankfully, no sudden dose of reality.
As is often the case with meditation or self-hypnosis, one loses a sense of time, after entering into a state of deep relaxation. What the clock tells us is a half an hour feels as if it’s only moments, not easily parted from, but wanting to return–like a dream one doesn’t want to end. It’s often difficult to find time to escape to a quiet forest, lake or one’s favorite place for truly as long as is needed, so in lieu of that disappear into some contemplation and take time to think, reflect and be Still.
Future Spin Productions CD – Time: 38:26 – Release Date: March 31, 2015
Available at: http://www.chrisjamisonmusic.com/
Tracks: 1) Always, 2) Blue Melody, 3) Juniper Blues, 4) What About Tomorrow, 5) Pedernal, 6) The Mockingbird Song, 7) Waves Of The Wind, 8) Roadside Bar, 9) Old 81
When first meeting some folks, it often takes time to get to know them. It might take months or even years until an acquaintance becomes a friend. For reasons that can’t often be explained, sometimes with a certain person or people, there’s a sense of ease or a bond and it just seems right from the start, and that’s how Chris Jamison’s forthcoming album Lovecraft feels and sounds to me.
Formerly of Texas, Jamison now lives with his young family in Arizona and he has self-produced four previous albums, and contrary to my normal listening preparations, I didn’t listen to any of his previous work, initially. There is a grounded familiarity in Lovecraft, like being at a favorite place or in a well-worn cherished piece of clothing, and even if a song’s subject is somewhat melancholy there’s a comfort in it that brings some hope for better things ahead. The album is tastefully humble and original in many ways, yet with a lilt of roots, blues and country, and it does kick-up some dirt too. Most of the songs are quickly memorable, but the substance is far more than just catchy hooks.
As much as I try to resist comparisons, it’s clear that there’s an homage to some musicians reaching back into the 1970s (instrumentation, vocals and studio vibe) like Jackson Browne of the Running on Empty era and earlier as well as the timing and presence of vocals in earlier works of Van Morrison. It’s also clear that Jamison not only cares about the songs and instrumentation, but how the recording sounds, and he sought Sam Kassirer for the mixing who has worked with Josh Ritter, as well as mastering by Scott Hull of Master Disk in New York, who has worked with many well-known musicians. Click on the photo below to view other album credits and musicians.
The album opens with Always, which has a steady awakening beat that features organ and electric guitar with Jamison’s strong vocals, yet the vocals don’t demand attention. There are reflective and slow-swinging moments with languid electric guitar or piano as in Blue Melody and Waves Of The Wind, and whether the vocals are slightly saturated or clean, they are clear, but not over-powering. The meditative slow-dance Juniper Blues channels some of Vince Gill’s work from The Reason Why album (These Days tetralogy); the sweet memories that still haunt, to paraphrase the lyrics. Jamison also plays a bit with a sense of time, starting What About Tomorrow with sounds reminiscent of an old radio tuning into a memory and discussions of what could have been. The song’s construction evokes the instrumentation of Al Stewart’s On The Border with Sebastian Cure’s guitar solo paralleling Peter White’s solo in Border.
In addition to telling stories, Jamison also remembers places, as in Pedernal, which I believe is the northern New Mexico mesa (Cerro Pedernal) that Georgia O’Keefe used as an occasional subject for her paintings. The piece is at first instrumental, ambient and contemplative, then the vocals blend with the cello, vibes and organ, it’s a humble entreaty to listen, “May I sing you a song…” The Mockingbird Song is an observation and appreciation with a soft spacious opening, almost trance-inducing. It’s of chasing dreams, with a strong vocal and is reminiscent of Josh Ritter’s The Temptation of Adam, but more hopeful. Mockingbird is an elegant song, and the harp along with hushed organ and vocals are just…perfect. Another place, real or imagined is the intimate Roadside Bar with piano, percussion and the feeling of enjoyment and jamming with friends who sing along. The album closes with the reflective, visual and optimistic returning depicted in Old 81.
So much music (or what passes for it) these days seems synthetic and lacking an authenticity that pushing the “SKIP” button on a CD or MP3 player might be a better option than wasting the precious time to be inundated by sound that is over-processed with samples and pitch-correction. As much as I seek music that is more experimental and somewhat edgy, I also enjoy and have a deep respect for songwriters who take great care to compose and record with understated yet effective arrangements and skillful musicianship.
This album is the real deal and it’s a great companion for a road trip too. Hit “REPLAY.”
Photo of Chris Jamison by Lillian Reid
This is a solicited review
CD DR-28 – Time: 45:56 (Limited Edition of 100 and Deluxe Edition of 100)
Almost two years ago The Endless Change of Colour (12k1074) presented a peaceful timelessness borne from a phrase on a jazz record split into three stems disguised as something entirely different. The resulting single movement instrumental work was grounded in a calming earthiness.
Sinfonietta is similar in form, although in contrast it’s loosely held to the bounds of sonic gravity. From the opening, the music phrases materialize definitively then ease in gently to create a feeling of gazing over what could be a familiar realm below with the observer being gently suspended and the vision staying just beyond reach. Recurrent themes occupy a somewhat narrower range of sound and emotion compared to TECOC, yet there are no detectable patterns and the entire work is elegantly devoid of monotony. Periodically, slower flowing waves materialize and vanish gracefully, like evaporating clouds, a languid aurora or another vision from the imagination.
Even with a seemingly minimal palette, Marsen Jules (the nom de plume of Martin Juhls) cleverly interlaces and produces three dimensional visualizations in sound. Listening to Sinfonietta, I feel as if I am serenely traveling in space, perhaps orbiting the Earth (or another as yet undiscovered planet) and marveling at the sights from my comfortable observation craft where I am quite content to remain.
This is a solicited review.
A great show last night by the Steve Hackett Band at the Ridgefield Playhouse in Ridgefield, Connecticut for the Genesis Extended fall 2014 tour of the USA and Canada. More information on the tour is here: http://www.hackettsongs.com/tour.html
This will be the last tour with exclusively Genesis material in North America, with a South American tour scheduled for early 2015. Hackett will have a new solo album in early of 2015 with a planned late summer/autumn tour likely in 2015–stay tuned! The Band: Steve Hackett (guitars), Roger King (keyboards), Gary O’Toole (drums), Nick Beggs (bass, Chapman Stick and guitars), Rob Townsend (woodwinds, keyboards and percussion) and Nad Sylvan (vocals and percussion).
Set List: Dance On A Volcano, Squonk, Dancing With The Moonlit Knight, Fly On A Windshield, Broadway Melody Of 1974, The Return Of The Giant Hogweed, The Fountain Of Salmacis, The Musical Box, I Know What I Like (In Your Wardrobe), Horizons (acoustic, preceded by an excerpt from Bay Of Kings), Firth Of Fifth, Lilywhite Lilith, The Knife, Supper’s Ready Encore: Watcher Of The Skies, Los Endos (including an excerpt of Slogans)
Encore with Watcher of the Skies with Roger King on Mellotron and Nad Sylvan as the Watcher.
CD: Darla DRL289 2014 Time: About 39 minutes
CD available at this link to Darla (To be released on September 9, 2014)
Tracks: Jane 12 through Jane 21 with track Jane 16 subtitled (For Pale Saints)
I took some time off from writing reviews; primarily to just take some time off, but also I have been awaiting preorders for a number of releases as well as getting more serious about making some music instead of just listening. It’s a hard road training old fingers to do new things, but it’s about the journey for me, not just the destination.
What a treat it is to return to a new album by Harold Budd (and I understand that another collaboration with Robin Guthrie has been recorded and will be released in early 2015, the title will be Another Flower). Jane 12-21 is another fine example of Harold Budd sitting at a piano (or other instrument) and just playing without rehearsal or embellishment, one take without revisiting and then moving on. There are some apparent treatments and minimal overdubs. It’s difficult for me to tell if the percussion is actual or keyboard-based sampling, but it does sound like actual percussion most of the time.
This album is simpler and less adventurous compared to Jane 1-11, and that’s not a criticism at all, just an observation. The cover design is also rather stark by comparison, with one panel by artist Jane Maru and minimal information about the tracks, recording and times, adding a bit to the somewhat mysterious nature of the album. Jane 1-11 was created in response to videos created by artist Jane Maru (which were later released as a companion CD/DVD: Budd Maru Collaboration ) so without the benefit of input from Harold Budd (so far), I wonder if Jane 12-21 was created as a response to further videos by Maru (see video for Jane 8 below).
The album contrasts between recordings that are intimate and those which are spatially broad, more distant (whether the distance and reverberation were achieved with actual spaces or electronically, I don’t know). To briefly describe each of the tracks on the album: Jane 12 is a stark and up-close, yet resonant piano with brief references to Debussy’s Clair de Lune. Jane 13 also uses a piano with light melodic percussion. After the first two tracks Budd moves to more experimental territory and Jane 14 consists of melodic percussion (bells, glasses) with reverb and has a very calming effect. Distance, like a dream on the edge of consciousness is how Jane 15 sounds, with hushed piano and a spatial reverb. Whether intentional or not, I do find some of the pieces referring back to other previous Jane 1-11 pieces. Jane 16 does this for me—reminds me of Jane 8. It’s placid keyboard chords with gentle piano accompaniment and minimal apparent treatments. The piano is responding to the chord movement of the keyboard.
Air moving through pipes is how Jane 17 starts, it’s a strong sound with treated piano and minimal percussion, and a pronounced flow and movement. Jane 18 bends and twists with a somewhat downcast sonorous keyboard. The melodic references to the first Jane series return with Jane 19, again keyboard and resonant chimes. It sounds a bit more reflective to me with shades of Budd’s earlier work.
Jane 20 has a breathy keyboard melody, somewhere between wind chimes and woodwinds along with a gamelan (at times sounding like vibraphone) and deep percussive overtones. This track more than any other in the series evokes a scene from a film with a vast landscape of mystery. Budd closes this collection with Jane 21, a modest and delicately resonant cross between piano and celeste and themes appearing in various other Jane tracks, making it part of the larger cohesive whole.
Harold Budd’s work takes me to a place where I like to be, and return there as often as I can. I think you’ll want to add this album to your collection.
CDr éter-06 Time: 38:42 Edition of 70
Tracks: 1) Pneuma, 2) Infraleve, 3) Indeleble, 4) Transparencia, 5) Levedad, 6) Gravedad
I listened to Levedad a few times and instead of immediately formulating thoughts about it, I moved on to some other activities allowing the impressions to coalesce in my subconscious. A day later I listened again and found myself thinking about cosmology, and the mystery that we cannot see or explain approximately 95% of the mass and energy in our Universe—what has come to be known as: Dark Matter and Dark Energy. It’s a conundrum of knowing that something is there out there, but not knowing what exactly it is.
Although I have no expertise in astrophysics, I have read some of Stephen Hawking’s and Carl Sagan’s works. Why I had this macro-scale reaction to Levedad, I’m not sure. By sharp contrast, there’s also a micro scale parallel as in the communications between (nerve) cells, the electrical impulses that pass via dendrites and synapses (which we KNOW to exist and have been observed in real-time using powerful laser and electron microscopy). And what of the 5% of the Universe that we can describe, see and hear?
In this album I think I would equate the tangible 5% of the Universe to the micro-sounds that populate the sonic ether throughout the six pieces on this album…like the flash of a small meteor that almost fools the eye when it disappears as quickly as it appears, the electrical pulses of a distant quasar captured with a radio telescope or the intensive shimmering ribbons of an aurora borealis. The vast remaining aura of sound is the indescribable and unknown.
Miguel Isaza studies sound and philosophy and conducts cross-disciplinary research on listening. His work includes composing, exhibit installations, performance, visual art (including computer generated images) and research. Isaza explores the relationship between creators, educators and students with workshops, talks and publications as well as creating, recording and producing music. He works with museums, academic institutions and on web-based projects. He co-founded the Éter label along with Alejandro Henao in Medellín, Colombia and also runs the Monofónicos, Invisible Valley and Sonic Terrain music labels.
Levelad is a series of micro-montages that are akin to the recent long exposure Hubble Deep Field images of a fraction of our visible night sky. The longer the time of the exposure the greater the detail that is revealed and the further back in time one travels visually; like letting one’s eye adjust to the dark and eventually more stars appear in the dome of the sky.
In my brief e-mail correspondence with Isaza, I asked if there are any underlying concepts for the album, and he had a reply that was curiously similar to my impressions (after I had already listened to the album and formulated my opinions):
“The work has for me a sense of nothingness, inspired on thin, delicate and suspended activity of bodies…”
So my reaction to the album, I have concluded, is plausible in the broadest sense. The album has varied textures and moments of contrast from crystalline (almost piercing) individual tones to broad and intense walls of sound. There are some recurrent sounds and themes giving a sense of familiarity within the largely ethereal sound-scape. It’s my opinion that the aura of two of the latter tracks (Transparencia and the title track Levedad) somewhat belie their titles, but that in no way diminishes the listening experience. Perhaps they were titled with a somewhat Duchamp-esque irony.
Pneuma (roughly translates to a vital spirit or creative force) opens the album with a vibrant clarity. It begins in relative silence and then merges into sonorous glassy environs, and moves briefly into cavernous and buzzing electric depths. Infraleve gives the impression of being nearby an audio jet-stream with micro-sounds and other sonic activity dancing below and in front of the high and fast-moving heavens. There is somberness in Indeleble, as if evoking a distant memory during a passage of time. In contrast to the jet-stream of Infraleve there is a feeling of an almost brooding undercurrent.
As noted above, and despite the title, there is a broad three-dimensional frontal density to Transparencia. It meanders a bit with the faintest sounds of distant voices. For me, Levelad (lightness) is ever so slightly referential, sounding mildly like the Opening Titles and backgrounds to the soundtrack of the film Bladerunner where Deckard is reviewing surveillance photos, which is followed by the Blush Response segment. Eventually a layered drone blends into the piece, but is delicately penetrated with avian sounds of an outdoor environment. Gravedad is appropriately grounded and has familiar sounds of nature, perhaps marking a return from the exploration of the unknown.
Enjoy the flight.
Volkoren 58 – Time: 39:46 Format: CD, also available as a limited edition of 35 copies (see Bandcamp link), recorded in the northern Netherlands
Available at: http://silmus.bandcamp.com/
1) Deeply Beloved 2) Remembrance 3) Set In Stone 4) You Are Tenderness 5) Leaving Darkness 6) Shelter 7) You Have The Words And I Listen 8) Bare 9) Sadness Covers Me 10) Follow Me
The word shelter has different connotations, and I recall an assignment in my early design studio days exploring that word in terms of space, light and structure. I think the new Silmus album is perhaps less about spaces or places, rather being more about people and seeking or finding the comfort and shelter of a person, friends or within a family. It’s the soft comforting embrace of a loved one—the holding on or the letting go, the giving or receiving shelter in or from a given situation.
Dutch musician Gert Boersma (acoustic and electric guitars, piano, synthesizers, ukelele, samples) returns along with producer Minco Eggersman (electric guitar, harmonica, synthesizer, effects), Jan Borger (piano and bass) and Mirjam Feenstra (vocals). In his debut album Ostara that I reviewed last year, Boersma explored the delight and wonderment of the cycle of life and parenthood.
Shelter is presented within a soothing yet relatively controlled dynamic range and shorter form instrumentals are more dominant on this album compared to Boersma’s last. There are moments when rhythms appear and a direction is established (as in the initially stark then hopeful Leaving Darkness or the firm acoustic presence of Remembrance). At other times the music peregrinates for a time and suddenly expands into a broad sound-scape (as in the stark moodiness of Bare, punctuated with electric guitar that emerges from the cover of an acoustic steel guitar). Some pieces are like brief visions of a mood or an experience, but others are self-contained and complete. Each track has a foundation, whether it starts with acoustic or electric guitar or piano, and gradually layers and responses are built to establish the atmosphere. It does seem that the album, taken in its entirety, represents a full cycle of feelings or reactions to a particular set of circumstances.
The CD opens with the meditation Deeply Beloved with repeated phrasings offering a gentle mantra of stability. Set In Stone has a clear voice of electric guitar, which is ever so gently treated with a phased chorus effect. You Are Tenderness opens with restrained orchestral strings and then a gently voiced piano, which is enhanced with light electric guitar.
The title track Shelter expresses the intent of its title—it starts delicately then the melody and harmonies are held firmly and uplifted within a secure bass line. In You Have The Words And I Listen the piano is treated as a voice. An enmeshed drone opens until the voice appears, then a conversation begins. The voice remains steadfast throughout the responses and delivers a message. A reflective piano opens Sadness Covers Me and is later coupled with a softly bowed electric guitar. The album closes with the steady hopefulness of Follow Me.
For those seeking a point of reference, I place this album within the gentler versions of Robin Guthrie’s solo work or perhaps the more contemplative instrumentals by Cocteau Twins. There is indeed a sense of warmth and comfort in this album, and it’s a pleasant place to be.
This is a solicited review.
Lest you all think that I only listen to Ambient and Progressive Rock music, I also listen to many other genres including Country music…wait, WAIT, don’t close the window–you won’t regret it!
Sturgill Simpson – Metamodern Sounds in Country Music (High Top Mountain): This new album by SS is the real deal. Great country songs about real stuff with great music, and even better the first single released is Turtles All The Way Down (with a nod in the title to Stephen Hawking) and it’s deliciously psychedelic with reverb, phasing-shifting and Mellotron. Give it a listen:
Shearwater and Sharon Van Etten – Stop Draggin’ My Heart Around (SubPop): From Record Store Day 2013, I missed this single, but I found it on RSD 2014 in the back of the singles bin—aha! The A side is by Tom Petty (which I can take or leave), but the gem is Jonathan Meiburg’s A Wake For The Minotaur—it’s just plain stunning. This live version features vocalist Jesca Hoop.
Songs: Ohia – Journey On Collected Singles (Secretly Canadian): Not much I can say about the tragic loss of Jason Molina that hasn’t already been written. Thank goodness we have Molina’s musical legacy, including his last band Magnolia Electric Company—great songs and music and many of subjects of Molina’s songs turned out to be prophetic. Long before he died, his last label Secretly Canadian was discussing releasing a boxed set of the early singles of Songs: Ohia, many of them quite rare and long out of print. Unfortunately Jason didn’t live to see it. It’s a beautiful blue cloth wrapped boxed set of nine 7” singles with a separate book of the original artwork and song histories and a CD compilation of all the singles. These were available on Record Store Day 2014 and they disappeared quickly…I was very fortunate to find a copy. Here’s a video on the set. If you can find one, buy it, you won’t regret it.
Mutual Benefit – Love’s Crushing Diamond (Other Music Recording Co.): Bob Boilen from NPR’s All Songs Considered got me to this album. Part folk, part psychedelic and reminds me a bit of a softer Grizzly Bear (the band) at times.
Ben Watt – Hendra (Caroline – Unmade Road): I’ve been a fan of Everything But The Girl (ETBG) since their early days and then Tracey Thorn and Ben Watt put that project on an indefinite hold while they pursued other musical endeavors and had a family. Tracey has released a number of excellent solo albums and this is Ben’s first solo album—very introspective. My favorite song is The Levels and David Gilmour plays slide guitar. This is a live version:
Lee Gobbi – Purple Prose (www.leegobbi.com): Lee is a fan of Progressive Rock music and the influences are clear on his self-produced debut album of mostly original songs with guest appearances by alums of the original 1970s and 80s Steve Hackett band. There are strong shades of The Beatles, ELO and the vibe of George Harrison’s work in this album. There are a couple of covers, a Stu Nunnery tune Madelaine (remember Stu Nunnery from the early 1970s?!) and a haunting version of Nick Drake’s Parasite. A brilliant first album, and I hear that there is a second album in the works—stay tuned. I’ll post some sound samples when they are available.
John Pizzarelli – Double Exposure (Telarc): This album from 2012 is of song interpretations and some pairings by Jazz guitarist (and son of Bucky Pizzarelli) and Popular song-man. The album is largely covers, with an original by Pizzarelli and his wife Jessica Molaskey Take A Lot Of Pictures (picking up where Michael Franks left off with his song Popsicle Toes). My favorite is the soulful Neil Young song Harvest Moon.
Elaine Radigue – Trilogie de la Mort (Experimental Intermedia): When I reviewing Nicholas Szczepanik’s latest album Not Knowing, I noticed the dedication to French composer and electronic music pioneer Elaine Radigue (born 1932) and I was reminded of this 3 CD trilogy that was composed as a tribute to her son upon his death. It’s very minimal with gradual layers in parts and intense at others. Like most of her other work it was composed on an Arp 2500 modular synthesizer. Since 2001 she has composed on and for primarily acoustic instruments.
Superchunk – I Hate Music (Merge Records): This is the band that started Merge Records (http://www.mergerecords.com/i-hate-music) and if you have a chance read their book Our Noise – The Story of Merge Records. I heard FOH (stands for Front of House) just before the album was released and ordered it instantly (and then waited, since it was a preorder). Be careful, it’s raucous!
Tomotsugu Nakamura – Soundium (Kaico): I have Tench and Words On Music label’s Marc Ostermeier to thank for getting me to Nakamura’s work. He is a sound artist from Tokyo and Soundium is an album of microtones, springy and glitchy rhythms and fractional sound samples. The sounds and instrumentation are so pure—this is a great album and delightfully quirky at times. http://naturebliss.bandcamp.com/album/soundium
Lateral reference: Soundium reminds me of the absolutely enchanting album In Light by 12k label’s Small Color (and I think that everyone should buy this album): http://www.12k.com/index.php/site/releases/in_light/
Federico Durand – El estanque esmeralda (Spekk): I find this album to be Durand’s most melodic work so far. Many of his previous albums and collaborations focus on longer form field recordings combined with bells, wind chimes and other instrumentation. This album concentrates on childhood memories of places and times, presented in delightfully concise pieces . The three latest Spekk label releases are in the larger format CD sleeves and they are a welcomed change from small digipacks, jewel boxes or (worse yet) plain sleeves. The music AND the art matters. http://www.spekk.net/catalog/esmeralda.html
Celer – Zigzag (Spekk): Will Long AKA Celer is well known for his extensive ambient works and soundtracks. This is a more rhythmic (albeit subtle) electronic work. Have a listen: http://www.spekk.net/artists/celer.html
Melodia – Saudades (Kaico): Melodia is a collaboration of Federico Durand and Tomoyoshi Date. I missed the original LP on the Own Records label, so I was quite pleased that Kaico released a CD version. More here: http://kaicojapan.tumblr.com/
Opitope – Hau (Spekk): This is the first album by Tomoyoshi Date and Chihei Hatakeyama. Micro-tones, found sounds, ambient and field recordings along with instrumental (acoustic and electronic) improvisation make up Hau. The album is charmingly subtle at times and crystalline at others. The pieces are observations and explorations of places and experiences. http://www.spekk.net/artists/opitope.html
Opitope – Physis (Spekk): This is the latest CD from Opitope. The pieces are longer form than on Hau and curiously feel more like minimalist Jazz, at times. The instrumentation is more direct (recognizable), yet the environmental and visual influences are still present.
William Tyler – Lost Colony 12” 45 RPM EP (Merge Records): Unlike Tyler’s recent (and fabulous) album Impossible Truth, which is a solo guitar album, this EP is a band release and Tyler reinterprets the track We Can’t Go Home, covers Michael Rother’s Karussel and the entirety of Side A is devoted to Whole New Dude. Dude is a ramble with a meandering opening (with excellent pedal steel by Luke Schneider) and then sets off on a driving rhythm (drums, guitar, pedal steel and bass) for the duration. It’s a traveling song, heading out “there” to explore, and Tyler lets it rip towards the end. http://www.mergerecords.com/lost-colony
Orcas – Yearling (Morr Music): Orcas are Benoit Pioulard (another guise of Tom Meluch) and Rafael Anton Irisarri. This is the follow-up to their first eponymous collaboration in 2012. Yearling is part environmental instrumentals and part songs. The opening instrumental track Petrichor reminds me of Brian Eno’s The Spider and I from the 1977 album Before and After Science. I complained about the tone and mastering of BP’s most recent album, but this album sounds MUCH better. The songs are lush with vocals and harmonies by Pioulard—really nice music with oft-catchy refrains.
Hundred Acre Recordings HA06: 12” LP (copy 18/40 signed, 200 total LPs & digital download)
Label: http://www.hundredacrerecordings.com/ Arrangement and production by Tim Noble
Hallock Hill Website: http://hallockhill.com/
Tracks: Side A: 1) I Light The Lamp And Sit Down, 2) The Good Dead, 3) The People Without Tears, 4) Death Was A Bird, 5) Villages Of The Black Earth, 6) A Secret It Remains, 7) Another Light; Side B: 1) Workbench Atheist, 2) Demons In The Birchwood, 3) Farewell, Pale Corpse Of Many Sins, 4) The Immortalisation Commission, 5) We Looked For You For 52 Years, 6) Massed Bands And Megaphones
Ask a person cold about a particular moment in time and the recall on specifics might not be immediate or complete, but drop a needle on an LP or press play on a CD and the instant the music starts (even if it has been unheard for 30+ years) that same person’s recollection of a memory could be lucid, with the place, time and circumstances remembered in vivid detail. Music is often a key that unlocks chambers in a memory palace. While not necessarily as far back as 30 years, there are moments while listening to Kosloff Mansion that visions of the past coalesce and the aura of the album further enhances that experience. Perhaps Tom Lecky had different intentions from my own experience for the inspiration of his fourth album, but that’s the power of music when combined with synapses, dendrites, proteins and whatever…
I often associate the works of HH’s with layered compositions for acoustic and electric guitar (as in the albums The Union or A Hem of Evening), but this LP is mostly rooted in solo piano with production and treatments by collaborator Tim Noble (of The Lowland Hundred). It’s hard to know where Noble’s contributions specifically appear, but I think of Lecky’s work as being mostly austere, without apparent structure at times, although intricately layered (some juxtapositions being left to chance). I was fortunate to have ordered this LP early enough to obtain a copy signed by Lecky and Noble, along with a hand written short poem by TL.
Kosloff Mansion starts gently, like the rising Sun with beams of light reaching into the morning, or rather, a candle’s flame penetrating the darkness. It could be an unhurried day or evening in a cabin in the woods, just sitting contemplating nothing (or everything) and listening without distraction—the types of moments of which we need more. Briefly, a storm interrupts in The Good Dead and this triggers the vision of a very late night deep in the Adirondacks (of New York) with lightning and thunder that a (then) very young son wanted to end, but I wanted (privately) to continue, to hear the storm echoing through the mountains. With assurances that the storm was increasingly distant, there was comfort enough for the younger to sleep and so the elder could continue listening and pondering that particular night before a loon emerged and greeted the dawn.
Instrumentation sometimes changes from solo piano to bells, or perhaps it’s a celeste, but they fit while shifting with the breezes, moonlight and stars reflecting in the lake of the vision. A Secret It Remains blends liquid and tones before landing in the austerity of Another Light with only hints of ominous strings rolling in on an imaginary tide of a lurking then emerging spirit…before fading.
Workbench Atheist seems to be more of the morning; soft music with a light rain or is it the creaking of an ancient wood floor? Demons In The Birchwood is a darker, but livelier spirit and the celeste returns with a deeper Leslie-esque treatment, before merging into a wraith-like Farewell, Pale Corpse Of Many Sins, which at times is unsettling yet ironically at peace. A reverie is freed to peregrinate in The Immortalisation Commission and it builds to a crescendo and then gently disperses. There is a firm perseverance in We Looked For You For 52 Years, a feeling of reverence is also present. Massed Bands And Megaphones punctuates Kosloff Mansion with a blend of a celebratory whimsy and sounds reminiscent of fireworks echoing in the distance.
At times Kosloff Mansion is mysterious, yet halcyon moments come forth and while different in sound and instrumentation from his previous works, it’s very much rooted in what I have come to appreciate in Lecky’s work—a really brilliant and different kind of music experience.
Added bonus! Hallock Hill live on WFMU, along with Tim Noble (HH segment starts at about 30:00, but enjoy the entire show!): http://wfmu.org/playlists/shows/55533
Label: Whispered CD WR001CD Limited to 500 hand-numbered copies Time: 36:54
Available at: http://whisperedlabel.bandcamp.com/album/fields
Tracks: 1) Cristaline (Flux), 2) Copper Traces, 3) Elements, 4) Archaique, 5) Rubis, 6) Pudgala, 7) Myth, 8) Canvas, 9) Cristaline (Reflux)
Fields is the first album to be released by the Whispered label and opens with a solo piano and the sounds of a distant shore. The music is from the imagination of Stéphane Vandezande in his guise as the Peaceful Wrath, and the work is part minimalist and part chamber orchestra along with delicate electronic and environmental treatments. The spirit is somber at times, as in Cristaline, but can change quickly to be playfully furtive like in the track Elements.
One moment, the music appears to be from a discreet scene from an imaginary film (as in Pudgala) whereas at others it depicts a broad conceptual sonic portrait, much like in the track Rubis. The presentation of the compositions is never brash, but the starkest of tracks can be the most powerful, even more so than those more broadly orchestrated (in a way, the power of silence). In Copper Traces, Vandezande also plays with rhythm and syncopation and has elements similar to Johannes Schmoelling’s solo oeuvre. There are also brief moments of humor in the variety of the orchestration in Elements and I was instantly reminded of Eno Moebius Roedelius’s 1978 album After The Heat.
Voices also appear like momentary distractions in dreams, but are gentle enough to allow a return to the comfort of the music; this occurs in Myth as it advances cautiously from solo piano to cello and then bass (or treated synth) and then into a section of chamber music, which quickens rhythmically. It’s one of my favorite pieces on the album. Canvas shimmers, rumbles a bit and even growls before the “reflux” of Cristaline. Vandezande notes that Fields was recorded under rainy skies in Brussels and in a small village in the French countryside, and he recommends as companions, “…a log on the fire and a nice cup of hot chocolate…”; sounds like an excellent idea, and I can also attest that it works well on warm sunny days too, a very nice listen with beautiful cover artwork.
This is a solicited review.
EANTCD 1032 – Esoteric Antenna (Cherry Red Records) – Time: 46:54
Tracks: 1) Time, 2) Memory, 3) Kombat Kid, 4) Headcase, 5) Eminent Victorians, 6) Broken, 7) Shadowland, 8) Entropy
Other music genres aside, I posit that many fans of Progressive Rock (Progressive Metal and other sub-genres included) have fairly high expectations when anticipating the release of an album by a favorite artist or band. The hope is perhaps for certain sounds and instrumentation—in a way, holding onto the past, the memories. I’m certainly guilty of that (I want Mellotrons, Les Pauls, E-bows and bass pedals), but I also hope for variants and invention in addition to complicated rhythms and key signatures that I associate with Prog Rock.
Music can trigger memories; hear a song and it can take one back to a long distant place and time, instantly. My memory of Nick’s work goes back to the early days of the Steve Hackett Band, in the late 1970s through the 1980s, and I certainly remember standing up front at more than a few venues close to the stage, marveling at Nick using his two (four?!) hands, feet and even elbows at times to assist with bringing Steve Hackett’s early work to life (he was a large part of the sound and technology of that era…and the transition from the analog to digital era in instrumentation and recording technology). Then, of course, I have enjoyed his solo work beginning with Straight On Til Morning from 1993.
I’ve heard some recent Prog Rock albums (even albums that I like) where the artist felt it necessary to include frequent derivative historical references and instrumentation or phrasing to other artist’s albums, but Magnus resists this temptation and takes n’monix in unexpected directions and makes it his own. The album does include many new friends as well as old; a connection to the past while looking to the future: Steve Hackett, Tony Patterson, Tim Bowness, Pete Hicks, Rob Townsend, James Reeves, Kate Faber and Andy Neve. Once again, long time collaborator, Dick Foster delivers sharp, witty and poignant lyrics that combine so well with the music.
n’monix is social commentary, history, reality and an observation of the results of technological advancements and the effects they have on us all. The more information available, the more to process, the more to remember and as a result we need devices to cope, mnemonics of many types. And curiously, even with the most tragic and unjust, we humans have such short memories; history is bound to repeat itself, it sadly becomes inevitable. We are victims of our own creations. The album is also about loss on many levels.
Time is the allegro of the symphony or the overture to the opera and it’s aggressive with firm vocals by Tony Patterson (and it will give your audio equipment a workout). By contrast (but very much in keeping with the symphonic reference) Memory is an adagio (slower tempo) waltz of sorts, which shifts from a somewhat shrouded soprano solo to broad choral treatment. Kombat Kid is an allegory. It is part march, part recitative and a story of consumption, manipulation and obsession…a reminder to step away from the keyboard or game controller now and then. Headcase is the only track on the album that even vaguely includes an homage…in this case (it seems to me!) to Gentle Giant…with quirky rhythms and lyrics—and memory games in the lyrics. Eminent Victorians is the most fantastical of the pieces on the album (with a brilliant animated video to accompany and vocals by the carnival “barker” Pete Hicks), and traces the absurdity of the served and servants, the sacrifices of the young and poor for the glory of an Empire and upper class; a familiar theme even today as income gaps grow ever wider and those less fortunate suffer even more. EV also includes prominent and most welcomed solos by Steve Hackett.
Broken is a heartbreaking lament with remarkable and emotional soprano saxophone solos by Rob Townsend (I have to admit that I had quite an unexpected emotional reaction to the track). Reality hits in the mournful resignation and loss of Shadowland and includes choral treatments and a stark guitar solo again from Steve Hackett. Some of the original themes return in the opening of the final track Entropy, an acceptance of reality and the unknown possibilities. I am certain that I have missed some of the literary, mystical and historical references…for now.
Although the subject matter of this album can be rather daunting, I find it to be somewhat lighter in spirit at times and more musical compared to Nick’s brilliant previous album Children of Another God. n’monix is impeccably arranged and orchestrated, and dances on the edge of being symphonic and operatic while including original and accessible songwriting. This is certainly not an album that collapses under the weight of a Prog Rock cliché, in fact, just the opposite–it brings a fresh relevance and viewpoint to the genre.
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.
Label: http://www.12k.com/index.php/site/releases/akari/ CD 12K1080 Time: 58:54
Artist Website: http://illuha.com/
1) Diagrams Of The Physical Interpretation of Resonance 2) Vertical Staves Of Line Drawings And Pointillism 3) The Relationship Of Gravity To The Persistence Of Sound 4) Structures Based On The Plasticity Of Sphere Surface Tension 5) Requiem For Relative Hyperbolas Of Amplified And Decaying Waveforms
ILLUHA’s new album is a more introspective progression from their previous works, some of which have been recorded in large spaces with vast natural reverberation (like their last studio album Shizuku – 12K1067). Akari is like the successively magnified views in Charles and Ray Eames’s film The Power of Ten, while still being in the dome of the sky, the experience of the sound moves inward, and despite being ever closer to the point of focus a vastness of even more detail is revealed. The album has a comforting intimacy, and from the first quite unexpected (to me!) muted acoustic guitar harmonics there is also a deeply tactile quality. The instrumentation on the album is diverse, but it never distracts; each sound or ensemble has the space it requires and it tangibly enhances the experience.
The recording is profoundly crystalline and as one meanders through the scenes there are moments of illumination to be discovered…finding light in the darkness where color and detail are exposed. The broader ambient sounds that open many of the tracks are subtle (like The Relationship of Gravity…) forming a backdrop for the journeys that Corey Fuller and Tomoyoshi Date lead us through.
I think the quality of sound-light in some of the passages of Akari is like the photo below that I took on a walk, early in the Fall of 2012.
Find a comfortable place to rest and get lost in this.
One of my favorite ILLUHA pieces is a live recording from their CD Interstices (see the excerpt of Interstices III below, CD also available from 12k).