Some Recent Kitchen. Label Releases
Record Label Website: http://www.kitchen-label.com/
Soundcloud Page (Excerpts of Albums): http://soundcloud.com/kitchen-label/sets
Available at: http://www.darla.com/
I am always on the lookout for new music, especially from record labels that are doing something different, something special, and I don’t mind spending extra money for well crafted, limited or richly illustrated art editions. In a way, it’s my reaction against the trend of digital only releases, which include not only music, but e-books (I still prefer finely crafted, bound books).
I’ve missed some of Kitchen. Label’s earlier releases that have gone out of print, but to date I have acquired four albums from their US distributor, Darla (their first release being in 2008 and they are an outgrowth of their design firm Kitchen, founded in 2005). K.L is based in Singapore and specializes in releasing art-editions of talented emerging artists, and label founders Ricks Ang and April Lee take great care in all aspects of their work, from the engineering of the recordings to the diverse and creative designs.
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ASPIDISTRAFLY – A Little Fable – Kl-007 – 2011
ASPIDISTRAFLY is composer and vocalist April Lee and producer Ricks Ang, and their work tells charming and delicate stories. Their second album A Little Fable was released in 2011 and it has the presence of a secret garden. I find the depth and airy quality of Homeward Waltz to be particularly enchanting–it’s like chamber music. Their first album I Hold A Wish For You was also released on K.L.
Homeward Waltz
Landscape With A Fairy
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FJORDNE – Charles Rendition – Kl-006 – 2011
FJORDNE is the solo project of Tokyo-based composer, Fujimoto Shunichiro. His work has a timeless richness that is brought to life with acoustic instruments and a laptop computer. Music for a quiet night of contemplation. Charles Rendition is his 5th album.
Constellation Live
Gathering
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Pill-Oh – Vanishing Mirror – Kl-010 – 2012
Pill-Oh consists of electronic artist Hior Chronik and classical pianist Zinovia Arvanitidi, both from Greece have been working together since 2009. They each have established solo careers of composing for theater, film, documentaries, and art performances. Zinovia is recording her 2nd solo orchestral album, to be released within 2012. Their album Vanishing Mirror is like the soft and hopeful first-light of a spring day. The feeling is sometimes reflective, but not sentimental. In this music there is restful comfort along with accomplished musicianship. The track Melodico is my favorite.
February Tale
Melodico
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Szymon Kaliski – From Scattered Accidents – KL-011 – 2012
Szymon Kaliski is a multi-media artist from Poland. From Scattered Accidents is his fourth album. His work combines familiar acoustic and invented instrumentation. His work has a tranquility that often evokes a suspension of time within a vast sonic depth of field.
Of Symmetry
Interlude I (with Peter Broderick)
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The music at Kitchen. Label is never strident, but it can challenge some norms of straight-up ambient, post-classical or electro-acoustic genres. There are even some jazz influences (FJORDNE, especially), yet the compositions are often ethereal and filled with memories of nature and surroundings of daily life—rediscovering the forgotten in the familiar.
Review: Roger Eno – Ted Sheldrake
Backwater Records OLKCD023 – Time: About 42 minutes (CD & Digital Files)
Record Label Website: http://www.backwaterrecords.com/
Artist Websites: http://rogereno.co.uk/ and http://rogereno.com/
Tracks: 1) You’re Just A Bloke; 2) All In A Garden; 3) The Old Queen’s Head; 4) There’s Something Wrong With Ted; 5) The Cold Night Is Over; 6) Marrers; 7) My Old Bike; 8) You’re Just A Bloke (Ted); 9) Moon Waltz; 10) Ever True; 11) Sally; 12) Bittersweet; 13) Ted’s Funeral Music
I find it hard to believe that my original LP copy of Apollo (Brian Eno, Daniel Lanois and Roger Eno) will be thirty years old in 2013, but there it is—one of the great albums of the ambient music genre. When I think of Roger Eno’s music over the years, three words come to mind: thoughtful, quirky and sometimes playful. Whether lyric or instrumental, RE’s works tell stories that can either be tightly sewn threads or loosely knitted yarns. Often, the subjects are quiet ruminations, but they can also be spirited and cheerful. His works can also be rather enigmatic, as noted in an autobiographical analysis from his website: [He is] “On an ongoing and heterogeneous musical journey which twists and turns and goes whichever way you think it won’t.”
Roger Eno entered the professional music scene with Apollo after music lessons and college to study music (as a multi-instrumentalist and singer), as well as running a music therapy course at a local hospital. In addition to working with his brother Brian, Roger has collaborated with artists including Bill Nelson, Kate St. John, Lol Hammond, Peter Hammill and Michael Brook, and has provided soundtracks for films and advertisements.
RE’s most memorable albums for me (of his 25 or so) include: Voices (1985), The Familiar (w/ Kate St. John, 1993), Automatic and Excellent Spirits (both with Channel Light Vessel, 1994 and 1996), Lost In Translation (1995), Swimming (1996), The Music of Neglected English Composers (1997), and more recently Fragile (Music) (2005), Anatomy (2008) and Flood (2008, a reinterpretation of a soundtrack constructed for Salthouse Art Festival in North Norfolk). I hope that Roger works again with Kate St. John and Bill Nelson; their work together on The Familiar is some of the most touching and enchantingly inspired work that I have in my music collection.
Ted Sheldrake is a departure from Roger Eno’s instrumental ambient work; originally a quiet neighbor and later a friend, it’s a tribute to a life, and even though it takes place in recent times, it could have just as easily taken place a hundred years ago—in many respects it did. It’s a familiar story in literature as well. In Victorian times, Richard Jefferies told the stories of common labourers, from the farm fields in his books like Green Ferne Farm, Round About A Great Estate (both from 1880), The Life Of The Fields (1884), and in newspaper articles during that time in the late 19th century. In the first half of the 20th century Henry Williamson also wrote of life in a West Devon village known as Ham (The Village Book and The Labouring Life in 1930 and 1932, respectively) and described the country life in the narrow village streets, fields and hedgerows, “local colour”, and stories of the “everyman”.
The compiled, mostly song-oriented work traces Ted in East Anglia (Suffolk and Norfolk, UK), being from a family of hearty stock, farm labourers and fishermen, and he spent his years working on an estate and living in a village where the pace of life was slower and the work was hard, but satisfying. In his younger days Ted learned to play a melodeon (hand organ), and as the years passed he became known for composing and performing songs in local pubs and village halls. In his later years, following his retirement, TS suffered the loss of his beloved wife, and something changed in him and it comes through in his music.
The album is divided, the way I see it, into two sections (observations and then reflections) and includes a number of recordings (songs, spoken word with accompaniment, and instrumental) made on location with cast of characters and talent connected to his life.
You’re Just A Bloke is an introduction to Ted’s work through the voices of others; a group interpretation of this universal and common man. This is the first indication that Ted’s work and life isn’t embellished with ornate descriptions, he’s the “real stuff”, with genuine words. Village life includes folks gathering in thatched cob or flint-walled cottages, village halls or pubs, and the jolly and perceptive All In A Garden brings this experience to life. Ted’s songs are also a bit like tiny memoirs, recounting special occasions and getting spiffed-up for The Old Queen’s Head.
As time passes, Ted’s meager existence and loss of friends weighs on him. Some around him sense a change in his countenance. There’s Something Wrong With Ted tells the worry of a friend, layered austerely with piano and a keyboard. The Cold Night Is Over is the beginning of Ted’s reflections of melancholy and pastoral memories of the farm fields and long views to the sea. Marrers (marrows or zucchinis) is perhaps the most beautiful track on the album—deeply reflective, and one of the main reasons Ted would still rise in the morning—for his garden; at first a lone piano, then an open and sincere expression of longing. The melodic theme is expanded modestly (and somewhat cheerfully at first), this time overlaid with memories in My Old Bike. Ted’s is a simple life in the village, never needing to leave East Anglia, and now missing his dear wife.
The original version of You’re Just A Bloke is rendered by Ted—directly, perhaps even more so than Hemingway. The last section of songs (with piano) present Ted’s most personal feelings, the endearing yet untrained voice, and uncomplicated romanticism of Moon Waltz and Ever True. Sally is an instrumental tribute to his wife, which is proud and forthright. Bittersweet is apparently Ted’s last song, interpreted by an ensemble of his mates (documented by local schoolteacher Miss Kemp—Ted didn’t write music, he just played it). The final tribute to his life is the piece Ted’s Funeral Music, which sounds like it’s played on an old harmonium or church organ.
So, slow the world down, set a spell, and get to know Ted Sheldrake and his humble existence. He might turn out to be someone you know, and it’s a simply delightful chronicle.
Ted Sheldrake will be released on January 7th, 2013.
Review: Good Weather For An Airstrike – Lights
Sound In Silence SIS011 – Time: About 40 minutes (CDr & Digital Files)
Record Label Website & Contact: https://www.facebook.com/soundinsilencerecords & http://www.myspace.com/soundinsilencerecords E-Mail: soundinsilence@hotmail.com
Artist Website: http://goodweatherforanairstrike.bandcamp.com/
Tracks: 1) A Quiet Day; 2) Thinking Of You; 3) Storm Fronts Collide; 4) The King XXVI; 5) One Of These Days; 6) Escape; 7) An Ode To Fring; 8) Rescue
The sounds that keep one up at night; they could be the house creaking, babies crying, traffic on the streets, the sounds of animals stirring outdoors, and my personal favorite the hoots of owls sending messages to each other in the dark. In the case of Tom Honey (aka Good Weather For An Airstrike), what keeps him up at night is the ringing in his ears—tinnitus. So, in 2009 Tom started his GWFAA music project as a means to help him relax and get to sleep (sounds like a candidate for a Slaapwel project too). I know of at least six releases by GWFAA since 2009 (with labels Hibernate, Rural Colors, Bad Panda, Audio Gourmet, Sonic Reverie and his own Hawk Moon Records), but I’m sure that there are more, including his most recent and lovely tribute EP to his wife Lauren entitled This Is As Good A Place As Any.
His latest album Lights is to be released by the small independent Greek record label Sound In Silence (their contact information is noted above) in a hand made sleeve and is limited to 200 copies. The album is arranged a bit like a meditation session, with instrumentation including guitar, banjo, strings, piano and percussion. The sound is steadier and fuller than many recent ambient albums, and I’ll resist the temptation to compare GWFAA’s sound to the works of others.
A Quiet Day begins softly before introducing a calming and guiding pulse with a mantra first from a piano and then supplemented by gentle percussion. Once in a more focused state Lights goes deeper, into the tranquil canon-like Thinking Of You. There isn’t a feeling of yearning here for what cannot be or the unattainable; there is just an idyllic state of belonging.
Thinking Of You
As with any period of slumber, the brain still sends signals to be processed, and periodically there are voices, broadcasts and sounds that appear to be sorted-out. Dreams send flashes that are discernible and other times are fleeting and out of reach. Storm Fronts Collide returns to the time of the Paris Peace Accords and the VietNam War in 1973—voices from the past (forgotten by some and unknown to others, except those who lived through those times); the codified yet unratified tragic melancholy that sometimes enters the drifting mind. The King XXVI and One Of These Days are also brief episodes in the sequence of reverie with the sounds of the outdoors and the cheerful voices of children.
Escape is a transition to the last section of the album, an arrival at pleasant and calmer memories. The mind is no longer distracted and has returned to the center in An Ode To Fring, perhaps from halcyon recollections of East Anglia, Norfolk. Rescue closes the album, and it is both the final state of slumber and the slow return to the conscious world. The opening theme of the album is more broadly reprised like the rising sun not yet seen, but still a signal to an awakening. Enjoy your travels, and the weather.
Photo Courtesy of Sound In Silence
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This is a solicited review
Flaming Pines Label
Record Label Website: http://www.flamingpines.com/
Soundcloud Page: http://soundcloud.com/flaming-pines
Bandcamp Page: http://flamingpines.bandcamp.com/
I am always looking for new and interesting music, and often works with a message or a foundation. Late in 2011, I came across a label from Sydney, Australia named Flaming Pines. I first noticed an EP release by Marcus Fischer and then realized that it was part of a series entitled Rivers Home. The first series consisted of 5 separate 3 inch CDs, each with works by a different artist (Marcus Fischer, Kate Carr, Field Rotation, Broken Chip and Billy Gomberg). There was also a common theme to the CDs, and I immediately took note of the striking cover artwork. Rivers Home (and its later Part Two with releases by The Boats, Seth Chrisman, Dan Whiting, Savaran, and All N4tural) “…celebrates the wonder of rivers at a time when many of them are particularly vulnerable. Many of us dream about rivers, ride along rivers, take ferries along rivers and sit on river banks. This series is a musical exploration of the ways we influence rivers and they influence us.” The founder of Flaming Pines it turns out is Kate Carr, whose work is also featured in the series. Kate also produces the artwork for the covers. I ultimately bought the entire set. Many of Flaming Pines’ releases are mastered by Taylor Deupree of 12k.
Marcus Fischer – Willamette River
The Boats – River Calder
Recent releases include a split album by Kate Carr (Blue) and Gail Priest (Green), which is an exploration of sound and color. The last track of each side serves as a transition to the other side of the LP, and the color references are subtle (as colors are muted at dawn and dusk), and reveal the natural world with field recordings and gossamers of acoustic and electronic instrumentation and effects. The LP silences the distracting world around and reveals the many things missed in the background as the days and seasons come and go all too fast. The LP is a co-production of Flaming Pines and Metal Bitch Recordings.
Kate Carr – Excerpt from Blue
Gail Priest – Excerpt from Green
Just released in September is the next series of EPs on a theme, this time Birds Of A Feather, and the covers keep getting better! The first two are the Black Woodpecker by Iran’s Porya Hatami and Great Northern Loon by Canadian Michael Trommer. Carr notes of this series, “…the role of birds as muse, as musical guide and inspiration has been well documented in classical music, from Mozart’s pet starling to Beethoven’s birdsong filled Pastoral Symphony and Sibelius’s swan hymn to Messaien’s birdsong compositions. Birds Of A Feather celebrates the role of birds in ambient music, and the beautiful fragility of birds more generally.” Both of these EPs are deeply layered soundscapes with field recordings of the chosen birds and environs mixed with acoustic and electronic instrumentation that heighten the experience. It’s like getting lost in the woods or paddling a canoe on a hidden lake.
As with Rivers Home, Birds Of A Feather will be a series of about 12 three inch CDs released as pairs in editions of 100 over the next year. The next pair of CDs will be by The Green Kingdom and Darren McClure.
My favorite of the cover artwork thus far is the expressive Black Woodpecker.
Michael Trommer – Great Northern Loon Excerpt
Porya Hatami – Black Woodpecker Excerpt
The latest October release is a debut by Michael Terren entitled Bythorne, who lives in far western Australia in Perth. In June of this year, he strapped his piano to a trailer and drove it 200 kilometers to a farm of his childhood. There he recorded this EP of six compositions (Cureaking, These Ones, All Nine of Them, Midiology, Bythorne and Dardyboys). The tracks echo the surroundings and ever-changing weather (from placid blue skies to sudden stormy weather in from the Indian Ocean) as well as the pastoral timelessness. I get a strong feeling of the sense of place from the beautiful title track. The sleeve is handmade and the EP is limited to 100 copies.
Michael Terren – Bythorne
Twigs & Yarn – The Language Of Flowers
Flau28 CD – Time: About 43 Minutes (Also available in 12” vinyl LP)
Artists Website: http://www.twigsandyarn.net Record Label Website: http://www.flau.jp
Mastered by: Nick Zammuto: http://www.zammutosound.com
Tracks (*Note: Track order according to iTunes readout appears to be in reverse order, although the music order is correct. The track order that follows is properly sequenced with the sound files on the CD and has been confirmed with the artist.)
1) Laverne; 2) Static Rowing; 3) If Were An Artery; 4) Conscious Strings; 5) Mermaid Wetness; 6) An Honest Moment; 7) Rosy Cheeked Pumpkin; 8) Bristle Of Mundane; 9) Flowers Thirsty; 10) Marigold Ride; 11) Strings Of Complacency; 12) Learning To Glisten
I sometimes listen to shortwave radio, late into the night, or in the early morning, as signals and sleep drift; voices and sounds emerge and disappear. Every so often my radio will lock in on a clear signal, and for a time there are voices from foreign lands, interesting new music, field correspondents reporting, or the strange sounds of open carrier frequencies waiting for a signal to fill them.
The Language Of Flowers is the enchanting (and often quirky) new album by Twigs & Yarn, and it has some parallels to late night radio listening, a mixing of familiar sounds, music and fleeting recollections. Both artists and musicians, Stephen Orsak resides in Texas, and Lauren McMurray is in Japan, and their work takes shape over the airwaves, satellites and international cables via computers and ftp servers. I didn’t discover Twigs & Yarn on my own; I have Michael Cottone of The Green Kingdom to thank for introducing me to their works. I come across new artists by exploring record label websites, visiting the few record shops that are left and (often the best method), word of mouth from musicians and friends. I don’t yet have the LP version, but the CD is packaged in a letter-pressed hand decorated collage (each one is slightly different).
The album opens with the mysteriously diaphanous Laverne, which shimmers like filtered sound-light on a bright morning, then passes quickly into the gentle swaying of Static Rowing. The fourth track Conscious Strings is both the clear reality of a solo acoustic guitar, combined with the meandering voices of a daydream. Some tracks seem to blend together as observations shift, and there is peaceful warmth in the sounds of a given day, whether inward looking as in Mermaid Wetness (with ingeniously repeated cadenced sound-samples) or outward as in the strangely discordant An Honest Moment which merges into street sounds, bells, voices, and then into a tranquil music box and electric guitar reflection in Rosy Cheeked Pumpkin reminiscent of Daniel Lanois’ pedal steel work on his album here is what is.
Bristle Of Mundane is an unexpected contrast, which opens with a heavily-distorted music box, eventually settling into gentle waves. The experience of late night radio listening is present in Flowers Thirsty, tuning in and out from pop-music radio samples to a distant ebb and flow of music and whispers, the mind drifts late into the night, until being awakened by the radio-alarm (this is my favorite piece on the album, mysterious and great keyboard sounds). The gentle pulsing organ of Marigold Ride contains a soft repeated vocal, flowing into acoustic guitar of Strings Of Complacency (sounding a bit like some recent solo guitar work of Ant Phillips combined with light treatments from Eno’s Julie With from the album Before And After Science). Learning To Glisten is the postlude to the album, the purest of all the tracks, with little sonic movement, and is a soothing close.
The Language of Flowers is like rotating a radio tuning knob late at night, or peering into a window overlooking a secret garden, or ephemeral visions in a dream. It’s an assemblage of existence all around, from the broadest landscapes down to the tiniest whispers, and even memories of childhood games as in the gently spirited and delightfully melodic third track, If I Were An Artery. The music, field recordings, samples and instrumentation are assembled with an idiosyncratic aplomb that yield a very cohesive and soothing quality, like a less energetic, more contemplative version of works by The Books combined with gossamers of the dearly departed Sparklehorse. So, it makes complete sense that Nick Zammuto (ex-Book) mastered this album; a symbiotic chemistry.
Videos
Static Rowing
Mermaid Wetness
Marigold Ride
Kane Ikin – Sublunar
12k1071 CD – Time: 53:33
Artist’s Website: http://www.kaneikin.com Record Label Website: http://www.12k.com
Tracks: 1) Europa; 2) Slow Waves; 3) In The Arc; 4) Ebbing; 5) Rhea; 6) Titan; 7) Sleep Spindle; 8) An Infinite Moment; 9) The Violent Silence; 10) Black Sands; 11) Lo; 12) Prometheus’ Tail; 13) Oberon; 14) Compression Waves; 15) In The Shadow Of The Vanishing Night; 16) Hyperion;
I don’t know exactly on what plane Kane Ikin exists, but I can tell you that I’d like to get there. There is a sense of deep mystery, the fleeting ethereal and a curious otherness in his musical travels. I’ll gladly get on his spaceship, anytime.
Kane Ikin is one half of Solo Andata (along with Paul Fiocco, both being from Australia), and he has also collaborated with other artists including David Wenngren (aka Library Tapes) on their February 2012 album Strangers (KESH017). I first encountered Solo Andata’s work in the 2009 self-titled 12k release.
Earlier this year, Ikin gave us a taster EP entitled Contrail (clear vinyl 7”, and a separate download of four tracks), and the title track alone was worth the price of the entire EP, not to mention the marvelous job that 12k did with the packaging. Also, of note, Sublunar is packaged in 12k’s new (no plastic, and I assume, recycled cardboard) sleeve design.
Ikin’s music is decidedly lo-fi in production (tape loops, altered field recordings, sampling, warped instrumental recordings), but the quality and care that he takes in combining tangible instrumentation with highly manipulated sounds gives the end result an indescribable yet comforting quality. His solo work also tends (so far) to focus on shorter format recordings (the longest track Oberon on Sublunar is 4:51). Also, while I consider his work to be highly original in form and sound; there are occasional (intentional?) references to works of others. At the risk of driving my readers bonkers, I’ll again reference Kraftwerk and their track Kling Klang from the 1972 album Kraftwerk 2, which came to mind when I first heard the gongs and bells in track (6) Titan.
Sublunar is a series of short journeys, just enough time to experience the sense of place Ikin is depicting, but not so long that one feels the urge to get to the next destination too quickly. I’m going to resist the temptation to describe each track (there’s a full single track sound file for Europa and an Experimedia sampler of excerpts from the entire album), because I think that might diminish a sense of self-exploration for the listener. Some tracks meander with little guidance from a recognizable beat, whereas others have highly treated percussion with extended decay. I especially like how Kane treats the sound of strings in the mix; he uses the entirety of an acoustic guitar’s resonance. Sublunar is a potent musical experience, and I hope Kane Ikin continues his voyages of experimentation, because I’m completely hooked.
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Sublunar‘s Teaser Video
Experimedia’s Sampler of the Album
Review: Every Hidden Color – Luz
Label: Streamline #1033 12” Vinyl LP (no digital download) – Tracks: I – 17: 04 & II – 18:00
Album available from NSZCZ: http://www.nszcz.com/a-few-copies-of-luz-are-for-sale/
Nicholas Szczepanik http://www.nszcz.com/ http://soundcloud.com/nszcz
Federico Durand http://www.federicodurand.blogspot.com/ http://soundcloud.com/federicodurand
More information on album and available at http://www.dragcity.com/artists/every-hidden-color
Every Hidden Color is a collaboration of two hemispheres and opposing seasons: Nicholas Szczepanik in North America (Chicago) and Federico Durand in South America (Buenos Aires). The work of these two artists to date is, to my ears, quite different, and the results in Luz are intriguingly harmonious.
Szczepanik’s work tends to be more serious and deliberate, and at times quite dense with broad masses of sound. Of his most recent work, my strongest connection, is to his album Please Stop Loving Me, which is indescribably beautiful and yearning in its meshing of sound and emotion. I am less familiar with Federico Durand’s work, but I have heard portions of his albums La Siesta del Ciprés (The Nap of the Cypress on the Spekk label) and the more recent (and bad luck for me it’s sold out!) album El Extasis de las Flores Pequeñas (The Ecstasy of Small Flowers on the Own Records label). Durand’s work tends more towards the introspective and ethereal, deftly woven with field recordings.
The pulsing of cicadas, crickets and a streetscape is how Luz opens before drifting into gentle winds (or is it the noise of a distant highway…or does it really matter?) and then a rhythmically swaying melody appearing like a soothing mantra, to then disappear into a sparsely layered and introspective suspension of reality. From there, come gentle rains, soft guitars, birds in the nearby trees, and then all drifts into the softest of walls of sound and finally gentle voices.
This is an album of contemplation and a sensitive appreciation of the world around us, from the smallest sound to the broadest landscape, and also to the light—Luz.
Autistici – Beneath Peaks
Hibernate Recordings – HB44: Time: 46:30 – Edition of 250
Record Label Website: http://hibernate-recs.co.uk
More on this release: http://hibernate-recs.co.uk/releases/autistici-beneath-peaks/
Artist Website: http://www.autistici.com/
1) Asleep Beneath Nests (Fieldhead); 2) Edall; 3) Mam Tor Soarers’ Workshop; 4) Styx; 5) Edge Over Millstone View; 6) Padley Gorge; 7) Noe (Upper Booth); 8) Mulgrave’s Dining-Room; 9) Aidale; 10) Peveril’s Open Door; 11) Sleep State For Carl Wark
Beneath Peaks (Autistici’s debut release on Hibernate Recordings) is an interpretive sound narrative of a walking and camping tour through the Peak District in the central UK; a luminous and expansive journey with a strong sense of place. The region is geologically diverse with moorland plateaus, expanses of millstone grit escarpments, limestone and demarking zones at the edges of the long-ago eroded strata. I have been fortunate to take long walks in similar places: Devon (The Burrows in Saunton) and on Exmoor in the southwestern UK, and Beneath Peaks is certainly an enticement to travel to this varied pastoral upland region.
Even before the music, I was struck by the hues, varying landscape and seemingly endless sky in the cover photo (quite similar to Exmoor in some respects). The photo is also illustrative of Autistici’s work, which ranges from outwardly expansive to inwardly minute explorations; the literal and abstract in a landscape that is both known yet still mysterious.
Instrumentation throughout the album is both recognizable and veiled, and includes piano, guitar, synthesizer and electronics, in addition to sculpted fragments of extensive field recordings captured during the trip (processed with the help of Christopher Hipgrave’s software module AMBIENT). Additional guitar on Edge Over Millstone View was provided by Erik Schoster.
Beneath Peaks is book-ended by two sleep-states: an awakening (the beginning of the journey at a campsite named Fieldhead) and a closing to slumber and inward contemplation (at the ancient Carl Wark). Throughout there is a deep sense of observation and contemplation, both in the literal field recordings and abstract sonic interpretations of the journey.
Asleep Beneath Nests (Fieldhead) is a deftly woven tapestry of field, avian and human sounds, rising with the sun (while human slumbers). Edall is the sound of breathing and pulsing; movement through this timeless area. Edall is a 16th century variant spelling of the village of Edale and was once known as the “Valley of the River Noe”; the start of the Pennine Way, a trail in this district. Mam Tor Soarers’ Workshop; starts in what appears to be in a woodworker’s shop. This is a region known for hang and para-gliding. As this track progresses, it transitions from being grounded to having a sense of weightlessness. The latter section (and I am speculating) appears to be a bit of an homage to Raymond Scott’s rhythmic and melodic electronic Bass-Line Generator (of 1967). Styx is a brief and quiet transition into Edge Over Millstone View. The sound is sharp and panoramic in contrast to other areas of rolling pasturelands elsewhere in this region (a reference to the geology, I speculate).
The rocky echoed sounds of Padley Gorge give the sense of passing through the deep narrow wooded valley near the village of Grindleford. Burbage Brook is at the base of the gorge. Noe (Upper Booth) is a small tributary to the River Derwent and forms a sonic respite before a pulsating encounter with Mulgrave’s Dining-Room. Aidale (I believe, another early variant spelling of the village Edale) is at first, a delightful contrast to Mulgrave’s; a meandering solo piano, which then drifts into an altered dream-state and transitions to the apparent sounds of traffic passing or is it time bending? Peveril’s Open Door brings us to the environs of Castleton and the nearby Peveril Castle, which overlooks the village with sounds of birds, nearby waterway and the piano returns. The end of the journey is Sleep State For Carl Wark, the rocky promontory in Hatersage Moor (believed to be the site of an Iron Age hill fort). It is here that memories of the distant past flow into and blend with the present, and sleep returns with music box and strings; the end of a captivating journey.
Autistici is Sheffield-based (UK) sound artist David Newman. He is the curator of the Audiobulb (where I discovered the marvelous work of Monty Adkins) and Audiomoves record labels. To date, Autistici has released a number of acclaimed albums on the 12k, Home Normal and Keshhhhhh labels, amongst others.
Updated sound files will be posted when available.
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This is a solicited review.
SRFélix – SRFélix
My Little Cab Records MLCR#031 CDr limited run of 100 (Review copy is #25)
Timing: 23:56 Mastered by Emmanuel Nogues
Website and Ordering: http://mylittlecabrecords.bandcamp.com/album/srf-lix
Tracks: 1) We Walk Until The End; 2) The Wind Dies; 3) Leaving Home; 4) A River In Winter; 5) Old Memories; 6) Until The End
S. R. Félix lives and records his works at home, between Lille and the shores of Brittany in France. His self-titled debut release on My Little Cab Records is an enchanting sonic novella that alternates between states of observation and contemplation. Most of the instrumentation is acoustic (piano, guitar, strings and treatments), and there are similarities with the instrumental portions of recent works by Will Samson and Gareth Dickson. There is deep sense of reverence for place and time.
We Walk Until The End announces a departure on a (perhaps imagined) journey with a layered and expansive beckoning, which gradually develops into an exultant march before fading. The Wind Dies shifts to a more introspective piano meditation. The recording preserves the ambient sounds of the inner workings of the muted piano*. Leaving Home continues the sense of reflection, this time with a solitary electric guitar lament. It starts quietly and grows more intense during the choruses. A River In Winter is a more outward looking and expansive sonic vision; a desolate scene encountered as the journey continues. Old Memories has a metronomic muted piano (layered with shimmering guitar). It expresses the passage of time, and gives the sense of viewing faded photographs. Until The End is perhaps the arrival at the destination, to a darker yet more serene realm. The sound is deeper and moves in waves to the close.
My Little Cab Records is a French DIY record label that has released mostly limited edition CDrs since 2004. The CD sleeve has an intriguing pine forest panorama spanning the front and back covers of the expressive and fully hand-lettered sleeve (with pressed dried flowers). S. R. Félix is working on his next album, to be released in 2013. Although this eponymous debut release is more akin to an extended EP than a full LP album, I find it to be a solid introduction to Félix’s work, and I look forward to the future release, as well.
*-Recording note: There is a slight vibration at the edges of the sonic peaks on this track. To be certain that it was not my equipment, I switched between multiple pairs of speakers and the vibration remained. It is not too distracting, but it is noticeable on certain equipment.
****
This is a solicited review, although I had already purchased a copy of the album.
Library Tapes – Sun peeking through
CD Time: 29:11 #auecd006
Website and available from: http://librarytapes.com/
Julia Kent – Cello (3, 4, 8 & 9), Sarah Kemp – Violin (2 & 6), Danny Norbury – Cello (7), David Wenngren – Piano
Tracks: 1) Variation II, 2) Parlour (Variation I), 3) Found, 4) Parlour (Variation III), 5) We won’t need you anymore, 6) End of the summer, 7) Lost, 8) Sun peeking through, 9) Parlour (Variation II), 10) Variation I
Music takes me places, always has. Sometimes there is emotion, a memory or colors, but it is always spatial. Although a relative newcomer to some artists, it is not that I am unfamiliar with David Wenngren’s work, but as for Library Tapes I have some catching-up to do. A while back I reviewed his hypnotic album with Kane Ikin entitled Strangers, and I have both albums Our House Is On The Wall (as the moniker of Murralin Lane with Ylva Wiklund), and The Meridians of Longitude and Parallels of Latitude, his collaboration with Christopher Bissonnette. All are different explorations of sound and place, but Sun peeking through seems more personal. Wenngren’s piano is deftly blended with a spare ensemble of strings.
Something a bit different this time; I won’t attempt to describe where Wenngren is taking me, but I will show you where I have been. These are often places I don’t want to leave once I am there (even if melancholy is involved).
1) Variation II
2) Parlour (Variation I)
3) Found
4) Parlour (Variation III)
5) We won’t need you anymore
6) End of the summer
7) Lost
8) Sun peeking through
9) Parlour (Variation II)
10) Variation I
The title track (to me) is beautiful, almost beyond words—a deeply reflective meditation. David Wenngren as Library Tapes has assembled a collection of poignant vignettes, and a treasured diary of sound memories.
And now, off to explore more of his previous recordings.
****
All photos (except album cover) are by wajobu.
unrecognizable now – two rooms
CD Time: 33:14* #KESH018
*With forthcoming excerpt remixes by Simon Scott and Kane Ikin
Record Label: http://www.keshhhhhh.com/
Artist Website: http://unrecnow.com/blog/
Sound Samples & More Info: http://kesh.bandcamp.com/
More on Matt Jones: http://www.matthewjones76.com/Unrecognizable-Now-1
More on Marcus Fischer: http://mapmap.ch/index.php?/ongoing/unrecognizable-now/2/
Tracks: Track 01, Track 02, Track 03, Track 04 (mastered to have seamless transitions)
unrecognizable now is an occasional collaborative project of Matt Jones and Marcus Fischer. They consider their work to be “gradual layered music” based on live improvisation, found sounds, a range of instrumentation, and laptop computers. In 2004, Jones and Fischer scored various experimental films by Portland, Oregon filmmaker Rob Tyler. The relationship of sight and sound was further explored by Fischer, Jones and Tyler in the first of a series of events in 2006 entitled Vision+Hearing. Fischer and Jones released their debut CD in a cave or a coma in mid-2006 on the Pehr Label (with 10 tracks and a short film by Tyler). In 2008 a live performance of unrecnow was captured on self-released limited edition CD entitled for sleeping it off. Marcus Fischer is a well known solo and collaborative sound artist, to date releasing more than ten recordings on labels such as 12k, Tench and Flaming Pines. Matt Jones is a photographer, artist and sculptor. Both are based in Portland, Oregon.
While two rooms is a further exploration of the electro-acoustic improvisation realm, this project also seems to nod to earlier works like Brian Eno’s seminal Ambient 1 – Music For Airports (1978) and the somewhat darker Ambient 4 – On Land (1982). unrecognizable now including a diagram of how the music was recorded is not unlike diagrams included on the reverse of both of the noted albums by Eno. This release is not only the literal music recording, but an in-situ analysis of how and why it exists as it does. Not a “field recording” per se, rather an interior anti-studio recording, one where it is important to document not only the music, but the ambience of the setting as well as the process.
The microphone placement for two rooms (in the basement of a downtown Portland office building), with the varying distances from source material and varying sound decay rates gives a tangible sense of space. This treatment also counters a sense of claustrophobia that one might expect, being recorded in a concrete tomb, of sorts. It has a remarkably expansive sound (historical note: the vocals for the David Bowie song Heroes were recorded using a series of remotely placed mics similar to this). Since this is a live improvised recording, it includes all the sounds associated with movement and production of the work by the artists (walking, changing instruments, etc.); adding a sense of transparency and intimacy.
The progression of this work is similar to Fischer’s recent 16 minute live release EP At Frame. Non-representational yet (depending on the listener) it can evoke memories or visions. For me, parts are like being on a sailboat, anchored or just drifting in light wind, and at others like wandering through an old dark factory and wondering about the history of the place. two rooms has the pleasant effect of allowing the mind to wander while occasionally being nudged by recognition of a particular instrument in the soundstage.
unrecognizable now photo by barry hill
The feeling in Track 1 is largely one of comfort. This section is more guitar and string-based (with some bowing) with pedal effects. Track 2 transitions to more keyboards, and then strings blend and the sound is fuller and brighter. After a graceful lull, deep and gentle waves begin at about the midpoint. There is a slight recurrent low-register plucked-string theme and then one is cast adrift at about 9:00. Track 3 is more ethereal than the other parts, especially at the beginning. Guitars return again at 1:30 and are blended into the omnipresence. At about 3:00 the density increases and bowed strings return to then be consumed into a cavernous silence. Late in this track there are various percussive effects to announce the transition to Track 4. This section is plucked, strummed and somewhat simplified; in a sense returning to the beginning and later an overlay of a nearly hidden repetitive melody appears and vanishes as the piece closes.
two rooms will be released on July 16th and digital files will be available for download, but if you are so inclined for a physical release, there will soon be 300 CD copies available in numbered and letter-pressed recycled card sleeves and related artwork—reasonably-priced, for such a beautiful work of sound art. This is an intriguing exploration of sound and space (an interior “field recording” of sorts), evoking different images and experiences. Perhaps now, rather than incidental music to a short film, this piece could be the creative inspiration for a visual work of its own.
*Postscript on the forthcoming remixes – More information on these soon (to be released on July 28th), but the Simon Scott remix is taken from the second half of Track 2 (one of my favorite sections) and finishes with the sound of a vinyl runout groove. Given Simon Scott’s recent work on his Below Sea Level project, I can see why he would be attracted to what I think is the most marine-like section of this work. The Kane Ikin remix has mysterious origins (to be discovered by the listener) with added treatments and loops.
***
This is a solicited review, although I have the physical release on pre-order.
Machinefabriek – Stroomtoon
Artist website: http://www.machinefabriek.nu
Available at: http://machinefabriek.bandcamp.com/ & http://www.metamkine.com/
Label: Nuun Climax #Nuun 11 CD: http://www.nuun-records.com/?page_id=718
CD Time: 35:51 Tracks: 1) Eén; 2) Twee; 3) Drie; 4) Vier; 5) Vijf
Prolific composer, artist and performer Rutger Zuydervelt (known as Machinefabriek) has written that the intent of this short-format album is to experiment with the sound of electricity using a new live set-up tone of analogue tone generators, effect and loop pedals. As I have noted in a recent review, I also keenly appreciate his background in graphic design—the quality of the visual aspects of his work, the design, layout and presentation of a given album’s artwork. Perhaps unintentionally, Machinefabriek has evoked some historic sound explorations in a similar vein to those made by Kraftwerk in their 1975 album Radio Activity (though without the seminal electro-pop sound).
The first time I listened to Stroomtoon, I immediately thought of the Kraftwerk track The Voice of Energy. The overall feel of the album is like touring a large industrial building late at night, passing through mechanical rooms or an electrical generation station. The recording is sharp, with piercing clarity at times and the visceral depths at others. This is not a conventional music album; it is experiential and visual ambience. Stroomtoon consists of one long format piece, followed by four shorter glimpses.
Eén is an industrial-strength ambient world. It is like a tour through a power station with turbines winding and cranes moving equipment overhead. This track starts with a sound akin to the long wind-down of electric motors. It is hypnotizing, and the layering gives the sense of descending while remaining in suspension. Ascent begins at about 8:00 as other incidental sounds enter the scene. It has some shades of the opening titles of Louis and Bebe Barron’s soundtrack to Forbidden Planet. At about 14:00 it is as if we have moved into an electrical switchgear room. A high-pitch whine permeates the space and the clicking, beeping and thuds here are like the systems within a building (even the sound of high pressure steam passing through pipes above). The piece builds almost to the point of the threshold of pain, and suddenly at the close there is an expansive low frequency cluster and the large switch is thrown—OFF.
Twee pulses and pumps, like a heart. This track builds slowly with a sharp clicking edginess of static electricity. Low frequencies push in, switches are thrown, and adjustments made then…click into a quieter zone, yet with radio interference. Drie opens with low frequencies and a sense of building tension; an ominous rhythm shadows and there is a sudden deep buzz like passing through an energy field. Gradually, chaos builds as radio interference overtakes and builds to a sudden full stop.
Stroomtoon (Preview)
Vier is pure tones; high, low, blending and slowly warping. There is tranquility in it. It is more the sound of systems at rest, on stand-by, and monitoring. Vijf is the sound of perhaps the giant transformers at the heart of this power station. Here there is deep humming with blending harmonics, as if moving between enormous pieces of electrical distribution equipment. As the track continues a door seems to be opened and the listener is transported into a vast room of pulsing energy; made me think of scenes of the long abandoned outpost of The Krell.
At first, I was concerned that I would have a hard time relating to a recording like this; I tend to gravitate to more musical works. Yet the intent of the recording is quite compelling and the results very effective—a cinematic journey through a densely energized realm, a really fascinating work. One last note: Because of the wide range of frequencies and the great clarity of the recording, be aware that Stroomtoon may challenge some audio systems. It could even be considered a reference recording for audio system evaluations.
Photo of Rutger Zuydervelt by Michel Mees
*****
This was a solicited review.
Celer Machinefabriek – Maastunnel/Mt. Mitake – Numa/Penarie – Hei/Sou *UPDATED sound links*
Artist website: http://www.machinefabriek.nu
Artist website: http://www.thesingularwe.org/celer/
Available at: http://machinefabriek.bandcamp.com/ and http://www.experimedia.net/
Videos by Marco Douma: http://www.marcodouma.com/
“Having a great time, wish you were here…”
While some on holiday are sucked into over-crowded commercial tourist traps, and others are off in their resorts or private villas, some of the most memorable places and experiences are the somewhat unusual, even off the beaten-path locales. Picture postcards often contain brief accounts or memories of travels to these places, being descriptive, cryptic or comical anecdotes of a given day’s events, compressed into a few short phrases—a substitute for longhand letters. They also serve to freeze a moment in time in a more permanent and retrospective fashion than the immediacy of a quick e-mail or photo sent via the internet. These moments in time are what the trilogy of releases by Celer (Will Long) and Machinefabriek (Rutger Zuydervelt) are like.
It started when they performed together in November, 2010 in Tokyo, Japan and then decided to collaborate remotely on a series of short releases beginning in October, 2011 between Tokyo and Rotterdam. The pieces started as larger works and eventually were edited into musical postcards, or drone poems* of sorts, evoking a place, event or state of mind. Artwork found by Long in Tokyo has been used for the covers of the 7 inch vinyl releases with design and graphic layout by Zuydervelt. As much as I appreciate the convenience of digital-format music, there is something quite special about the 7 inch record, packaged in artful sleeves of re-purposed postcard and souvenir images. Even better, each piece is accompanied (via download) by a beautiful and timeless video interpretation by multimedia artist Marco Douma.
The soon-to-be-released Hei/Sou is the last in this trilogy. Maastunnel/Mt. Mitake and Numa/Penarie were the first two releases. Digital files are also available and the vinyl pressings are limited to 250 copies each (Maastunnel/Mt. Mitake vinyl is now sold out).
Maastunnel/Mt. Mitake are readily identifiable places. Maastunnel is a tunnel in Rotterdam and this track has some mystery. The piece opens on the outside approach to the tunnel (with the ambient sounds of water). There is an apparent twist in the plot where voices can be heard, “I didn’t see his face…he might have been just anybody…just anybody.” Suddenly, a break to the interior where vehicles are passing over expansion joints creating pulses that resonate throughout the underground structure before a quick return to the roadway above-ground. Mt. Mitake is a contrast to the underworld. It starts with a sense of floating in the clouds. The second section creates a sense of tension with the calming effects of the first section in the background; kind of a panoramic view with scenes changing. The peaceful opening section returns to close the track.
Numa/Penarie are more obscure experiences. Numa is almost like a collection of sounds experienced throughout the day; clusters of lights buzzing, bell-like sounds, subways braking, jets taking off in the distance. The second section is more intense (again, a feeling of being underground), expansive and layered with lower frequencies underneath. The close brings a return of lighter and higher frequencies, returning somewhat to the opening themes. Penarie is perplexing; it’s dense, electric and unrestrained. It expands and contracts with clusters of tones. Then there is a pleasant interlude of Mellotron-like waves before mixing with the original themes and sounds, while being accompanied by a clock and then fading quickly, almost like a fleeting dream.
The forthcoming Hei/Sou is the more contemplative of the three releases, and the most abstract. Hei starts with a cymbal-like percussive and then drifts into a gentle sustained keyboard mantra with a wandering background of gentle buzzing and contrasting deep bell-like tones. The cymbals return and are combined with a placid cluster of sound. Sou opens with a Morse-code-like pulse and omnipresent warping tones that gradually combine with a fabric of lightly sequenced rhythms, and there they hang in suspension as the pulsing grows stronger and then fades. Gradually an undertow of deep liquid sound emerges to the foreground and the rhythms are overtaken and then disappear.
These self-released sound postcards are beautifully presented visions of places and experiences. Where will Celer and Machinefabriek be traveling to next?
Maastunnel/Mt. Mitake Preview
Numa/Penarie Preview
Hei/Sou Preview
***
*Drone Poem: Like Tone Poems, a shorter format single musical work, within the drone or electro-acoustic genre, based on or evoking the content of a poem, story, place or event. The term initially inspired by some of the recent shorter-form works by Nicholas Szczepanik on his album We Make Life Sad.
***
A solicited review, but I have purchased the first two releases and now preordered the latest.
Bring Me The Head Of —> Kyle Bobby Dunn
Record Label & Sound Samples: Low Point (2012) LP049
http://lowpoint.bandcamp.com/album/bring-me-the-head-of-kyle-bobby-dunn
Artist Website: https://sites.google.com/site/kylebobbydunn/
CD 1 Time: 57:34 CD 2 Time: 64:10
Tracks CD 1: 1) Canticle Of Votier’s Flats; 2) La Chanson De Beurrage; 3) Ending Of All Odds; 4) Douglas Glen Theme; 5) An Evening With Dusty; 6) The Hungover; 7) Diamond Cove (And Its Children Were Watching)
Tracks CD 2: 1) The Troubles With Trés Belles; 2) Innisfal (Rivers Of My Fathers); 3) The Calm Idiots Of Yesterday; 4) Parkland; 5) Complétia Terrace; 6) In Search Of A Poetic Whole; 7) Kotylak; 8) Moitié Et Moitié
I consider listening to Kyle Bobby Dunn’s work to be like how I imagine time travel could be; sitting in a chair in a dimly lit room, the button is pressed, and the journey begins. Then the walls and world around dissolve and nothing matters, but everything is there through the passage of time.
A Young Person’s Guide To…
Being a relative newcomer to KBD’s work (having A Young Person’s Guide To… , Ways Of Meaning, and this double CD), I find his work to be mysterious and boundless. I also sense in some of his writings (around the internets and within the liner notes of his albums) that KBD has a rather wry sense of humor (I note the “beurrage” and the stick of butter on CD 1)—an homage to the mundane, but pleasurable. The instrumentation (I have read) is mostly processed guitar, loops and treatments, yet throughout the album almost none of the sounds are readily identifiable—makes it all the more mystifying. The ethereal simplicity of the resonance belies its depth.
Ways Of Meaning
While his work can sound serious at times, there is a charming and timeless delicacy that instills a sense of wonderment and discovery, but without overt sentimentality. It is like being set free in weightlessness and seeing new things at every turn or blink-of-an-eye and wanting to see and hear more. There is also a sense of being at peace and a reverence to places (of note, Votier’s Flats, Douglas Glen and Diamond Cove; areas close together in the Calgary, Alberta, Canada locale…and is Innisfal actually Innisfail?). I think there are deeply cherished memories in this work.
This latest double-CD has a mix of long and short tracks. Canticle Of Votier’s Flats (in Fish Creek Provincial Park) is a short preamble to the journey. There is soft warmth in the slow layering of La Chanson De Beurrage and imagery of trains or ships in the far away during a deep night in Ending Of All Odds. There are some points where there are comparisons to the works of others (not SOTL!). There is a subtle idée fixe that appears in the Douglas Glen Theme that is reminiscent of An Ending (Ascent) from Apollo: Atmospheres and Soundtracks by Eno, Lanois & Eno (which just happens to be one of my favorite tracks from that 1983 album). And what about An Evening With Dusty? I smile.
Douglas Glen Theme and The Troubles With Trés Belles have the slightest of hints of sonorous brass similar to the recent Tape Loop Orchestra (Andrew Hargreaves – CD 2) album The Burnley Brass Band Plays On In My Heart. The latter KBD piece possesses a deeply held sense of another time and place, as if the journey is temporarily paused to have a look around…and to remember. The expansiveness of Parkland contrasts with the apparent visceral darkness of the introverted Complétia Terrace. In Search Of A Poetic Whole gracefully surges like an awakening. The album closes with two rather somber pieces and I speculate that Kotylak is a calm dissonant statement of reaction.
Works such as this take time to gestate—they’re not just knocked-out in the studio. Understanding memories (often appearing in dreams) are sometimes nebulous, and with time to ponder and sculpt, do clarify into ageless and timeless music such as this. The cinematic parallels are also clear…when I see the long takes of Tarkovsky’s Solaris (flowing water, sinewy highways…) it is as if KBD has translated visions into fluid sonorous existence.
This is powerful stuff and I would love to hear it live too.
Simon Scott – Below Sea Level
Record Label: http://12k.com/ #12K1071
CD Time: 43:10
Artist Website: http://simonscott.org/
Tracks: 1) __Sealevel.1; 2) __Sealevel.2; 3) __Sealevel.3; 4) __Sealevel.4; 5) __Sealevel.5; 6) __Sealevel.6; 7) __Sealevel.7
Simon Scott has given us a great gift—finding music in nature, while the rest of the World is flashing by. Below Sea Level is not only an expansive work of academic and historic significance, but it captures the feeling and sounds of being in and near the Fens of East Anglia, UK. The work often abstracts the literal and produces a sense of contemplative reverence for an area that has endured great and tragic changes since the 17th Century, due to ill-advised human intervention over nature.
Simon Scott – Courtesy of 12k
I have been fortunate to explore some parts of this region (as far north as Stiffkey—both farm and fen). Taylor Deupree’s 12k record label has assembled this beautiful work including a deluxe edition (CD, illustrated hardbound journal, inked sketch by Scott and a 34 minute live recording download). I recommend purchasing this edition, though the CD alone is a fine alternative and is also beautifully packaged.
Below Sea Level is clearly an exploration with some very personal roots and memories, “Over the two years I visited the Fens to record, my childhood memories were reawakened and I realised as I explored a landscape that was personal to me, but contained unfamiliar and hidden acoustic details.”, writes Scott. With each track, the listener is taken ever-deeper into this mysterious landscape.
__Sealevel.1 is almost as if eyes open from a dream, and we are in the Fens, first observing from the outside before entering. The birds, insects, water underneath, and the drifting breezes fill the vision, as a lone electric guitar is the beacon for the marvelous journey. Other treatments and electronics weave their way into the flora and fauna.
__Sealevel.2 rises as of the morning sun, geese fly overhead and the fabric of the environmental and instrumental sounds is woven deftly and seamlessly. The attention to the production of this work is so masterful that it is often difficult to discern where the natural and synthetic begin and end. Water filters through, rhythmic buzzing and guitar arpeggios mesh together with ambient sounds and avian denizens. As this piece closes, first there is a building drone of sound and then it subsides into a hint of acoustic guitar.
__Sealevel.3 begins in the visceral depths (low frequencies) with birds aloft overhead. It’s the feeling of pushing deeply into the unknown of the mysterious Fens of peat while getting lost in the droning electronics and deep rumbling and distorted guitar before reemerging.
__Sealevel.4 is near the water, at the edges and down low. The instrumentation is reminiscent of flowing water weeds and marsh grasses as they pass by on the journey, ever-deeper into the marshland.
__Sealevel.5 begins with the shrill and mystical and then a return to an identifiable acoustic guitar theme, which to me, appears as the human element observing the landscape, before being absorbed again back into the sounds of the surroundings. The memories of Scott’s childhood seem to filter in with a short passage from a music box before fading.
__Sealevel.6 is dense with an almost sensory overload of sound; the layered and diverse gives a sense of the incredible simultaneous activity occurring even in this natural landscape.
__Sealevel.7 closes the work with a calming and melodic aquatic voyage, flowing slowly and soon returning to the ambient sounds of insects above the water that inhabit this expansive other-worldly realm.
In an era where the artist and their works are often undervalued (file-sharing, Spotify and the utter drivel being released by many of the corporate record labels), it is so heartening to see, yet again, an independent record label such as 12k paying tribute to a work such as this. Simon Scott has produced in Below Sea Level an authentic, thoughtful and informative work that is a real treat to behold and explore.
Somewhat eclectic listening today…UPDATED
Will the Circle be Unbroken
On Capitol Nashville, various artists (Nitty Gritty Dirt Band et al…cast of many)
In honor of the passing of Doc Watson I’ve been listening to this (two CD set from 2002). It was originally released in 1972 as 3 LPs and 3 cassette tapes (my LPs were long ago worn out). My favorite is Doc Watson’s version of the Jimmie Driftwood song Tennessee Stud.
****
Dictaphone – Poems From A Rooftop
#sonicpieces013 – http://sonicpieces.com/sonicpieces013.html
The title taken from Iran’s Green Revolution…more on the album at the link above. Really interesting sonics, rhythms, instrumentation and delightfully quirky. My favorite on the album is Manami.
Video of the handmade limited edition CD cover:
****
Brian McBride – The Effective Disconnect
Kranky #KRANK150 – http://www.kranky.net/
Music composed for the documentary Vanishing of the Bees
One half of the duo Stars of the Lid. A really beautiful soundtrack and I’d love to find the film.
****
Small Color – In Light
#12K1057 http://www.12k.com/index.php/site/releases/in_light/
Yusuke Onishi and Rie Yoshihara, really charming minimal electro-acoustic Japanese pop.
****
And then there’s this gem of an album…
Aspidistrafly – A Little Fable
http://www.kitchen-label.com/catalogue/ki007-aspidistrafly-a-little-fable
The first edition has sold out. So a second edition of 2,500 copies will be released shortly. Both the book and music have a delightfully ancient quality about them. Ambient sounds, chamber music, vocals and electro-acoustic music. As one friend put it, “…it’s a lovely album.” It really is. There are sound samples at the link above.
This is available at: http://darla.com/
Homeward Waltz is my favorite piece:
Cock and Swan – Stash
CD #LTS0011: Total Time: 43:25
Artist Website: http://www.cockandswan.com/
Record Label: http://losttribesound.com/
Recorded by: http://dandeliongold.com/
Soundcloud Samples:
Tracks: 1) Sneak Close; 2) Stash; 3) Raging Chisel; 4) Sympethizer; 5) Happy Thoughts; 6) Unrecognized; 7) Unserious; 8) Clear Sighing; 9) Remember Sweet; 10) I Let Me In; 11) Orange and Pink; 12) Walking Up Dandelions
Bonus MP3 EP: 1) Comfort Zone 2 (acoustic); 2) Raging Chisel; 3) Stash (Part Timer Remix); 4) End Sinister; 5) Random tracking; 6) Soft Setting; 7) Stash (Vieo Abiungo Remix)
Not so long ago I took a chance on purchasing an album based on a brief write-up and it turned out to be a real gem— Will Samson’s Hello Friends, Goodbye Friends. It has happened again with Cock and Swan’s Stash. I read a summary, and I also noticed the great care that Lost Tribe Sound had put into their limited edition release (cloth binding with mixed hand made papers). I could not resist, and what an enchanting surprise this album is.
Cock and Swan are Johnny Goss (bass, guitar, percussion, vocals and production) and Ola Hungerford (vocals, piano and clarinet). Supporting musicians include, Adam Kozie (drums), William Ryan Fritch (vibraphone, marimba, saxophone, flute and cello). Paintings are by Robert Klein and photography by Angel Ceballos.
Photo courtesy of Cock and Swan
There is something delightfully ancient and psychedelic about Stash. I won’t dwell for too long on what other albums I am reminded of—the percussion (including deep bass drums), woodwinds, soft and dreamy vocals. First, the ballads feel like they are drawn from the same cloth as Comin’ Back to Me from Surrealistic Pillow by the Jefferson Airplane (1967). Second, the drums—rough, full and sometimes behind the beat are very close to Michael Giles on both Cadence and Cascade from In The Wake of Poseidon by King Crimson (1970) and the alternate lyric version (by B. P. Fallon instead of Peter Sinfield) Flight of the Ibis from the eponymous album McDonald and Giles (also from 1970).
Some of the tracks on this album are acoustic remakes of more obscure electronic versions from their two prior albums (Unrecognized, Unserious, Sympethizer, I Let Me In, Stash, Tectonic Plates). It is evident that Cock and Swan were searching for a sound to fit the songs and I think in this album they have found it—softer, comfortable and more accessible (and with a hint of the sadly departed Sparklehorse).
Sneak Close and Stash both have guitars sounding like dulcimers, drum sticks counting time, whispering woodwinds, Ola Hungerford’s ethereal vocals and the overall sound of an old music box working against its well-used mainspring. Raging Chisel is an excellent combination of the obscure and edgy sounds of their earlier albums woven with melodic instrumental and vocal passages. Sympethizer is a short instrumental and Happy Thoughts moves slowly with a contrasting faster interlocking rhythm and subtle use of electronics. Tectonic Plates has a lush beat, sounds are layered (ambient and instrumental) and Ola’s voice floats in between. It’s easy to be drawn into this peaceful and dreamy realm.
The drums are strong, but never overpowering on Unrecognized and there is a charming mix with ambient sounds and solo acoustic guitar. The largely instrumental Unserious has a stately piano backdrop with woodwinds and soft percussion. Clear Sighing is a short instrumental percussion and woodwind link leading into the vocally and instrumentally beautiful Remember Sweet (with one of my favorite touches…a background of pin-piano during the choruses). I Let Me In has a rhythmically languid, but swaying vibe.
The standout piece on this album for me is Orange and Pink. Acoustic guitar, mallet-struck percussion and piano start with lightly teasing interplay until Ola and Johnny’s vocals feather into the mix and then yield to a hovering piano counterpoint before fading—it’s simply gorgeous. The album closes with the soft anthem Walking Up Dandelions, a combination of many of the sounds throughout the album.
While the arrangements are relatively simple throughout, the layering of the instruments, vocals and ambient surroundings give the album a lush quality. My only wish?—that a lyrics sheet were included. Other than that, this album is just wonderful.
Tectonic Plates Video:
Monty Adkins – Four Shibusa
CD #AB040: Total Time: 43:13
Artist’s Website: http://www.montyadkins.com/
Record Label Website: http://www.audiobulb.com/
Sound samples: http://www.audiobulb.com/albums/AB040/AB040.htm
Tracks: 1) Sendai Threnody 9:00; 2) Entangled Symmetries 11:04; 3) Kyoto Roughcut 14:38; 4) Permutations 8:31
I am likely less-than-qualified to discuss this work since it is steeped in layers of academia and has densely studied connections with artistic subjects. Yet, with all that Four Shibusa is a beautiful and very accessible collection of music on its own. It has a stark clarity that I am coming to understand and appreciate more in the recent works of Monty Adkins. I am most familiar with two of Adkins’s prior works, Five Panels from 2009 and Fragile.Flicker.Fragment from 2011.
This is an example of Monty Adkins’s work from Fragile.Flicker.Fragment
Remnant:
There is a companion video to “Remnant” here and I think it’s gorgeous:
Monty Adkins studied music at Pembroke College in Cambridge, UK where he specialized in French Medieval and Italian Renaissance music. After an introduction to electronic music by ECM artist Ambrose Field, Adkins formally studied acousmatic music (a form of electroacoustic music). More information on his studies and background can be found at his website noted above. In addition to his own solo works, Adkins has been commissioned to create musical works for art installations, dance and other performances as well as curate collections with other composers of electronic, ambient and musique concrète (influenced by the pioneering work of Pierre Schaeffer). He is on the faculty at the University of Huddersfield Music Department in the UK.
Shibusa is the concept of seeing the inherent simplicity and beauty in everyday objects. This has been the basis for an artistic collaboration between visual artist Pip Dickens and Monty Adkins (both having an interest in Japanese culture and thought) that recently culminated with the release of this album along with a book and exhibition entitled Shibusa – Extracting Beauty, edited by both artists. I have not yet had a chance to see the visual works (though some illustrate the CD cover) or book, in person. I have read that the visual work is an exploration of color, pattern, rhythm and vibration in Japanese Katagami stencils and fabrics and the interplay of light, shadow and color—relationships which can range from spirited to introspective and reflective. The CD, Four Shibusa is a collection of thoughtful and precise music compositions. At times, their simplicity belies their great depth.
More information on the artistic collaboration is at this link:
http://www.pip-dickens.com/audio-visual-collaboration.htm
Sendai Threnody, I posit, is a lament resulting from the massive and tragic 2011 earthquake and tsunami in Japan. This piece is brilliantly played by clarinettists Heather Roche and Jonathan Sage. The subtlety of the blending of consonant to dissonant tones adds to the power and serenity of this tribute. Minimal electronics supplement this track.
Entangled Symmetries returns to sound explorations similar to Fragile.Flicker.Fragment, yet with a greater sense of restraint. There is a deep inner reflection in this piece. The more complex portions seem to be taking cues from the visual works of collaborator Pip Dickens where sonic patterns combine and vibrate.
Kyoto Roughcut has a distinctly mysterious quality. It opens with very subtle and not readily discernable combinations of electronics and clarinets. There is a building tension and the sounds expand with chattering and visceral undercurrents. As the piece progresses, the clarinets are revealed with shrill edges, full tones and liquid electronics are woven and pulsed into the fabric of sound until it overtakes and floods the entire soundstage and gently wanes. The clarinets return briefly and then all gradually fades.
Permutations opens with solo clarinet and a growing misty undertow of electronics with sounds reminiscent of meshed tonal percussion, strings and choral voices. It is a somber theme similar to Sendai Threnody—almost like a beacon calling out in a steady rain. Eventually, the clarinet melody shifts and the electronics gradually transform to purer tones like the clarinets and then the combined atmosphere of sound subsides, leaving a lone clarinet.
There is a meditative purity throughout Four Shibusa, but it is in no way a sterile. The timbre of the clarinets adds a warmth to the overall work. In each piece, there is a masterful sophistication and balance, and despite the use of electronics, the sound is never synthetic. Sometimes the power is in the silence and the spaces, not always in the sound. This I am coming to understand more with each new work by Monty Adkins. As a record label, Audiobulb has again held fast to their tenet of being “…an exploratory music label designed to support the work of innovative artists.”
More information about clarinettists Heather Roche and Jonathan Sage:
http://heatherroche.wordpress.com/ and http://www.jonathansage.co.uk/
Tape Loop Orchestra – The Word On My Lips Is Your Name & The Burnley Brass Band Plays On In My Heart
CD 1: Time: 45:00 #TL001: The Word On My Lips Is Your Name – Subtitle: A compendium of tape loop experiments
CD 2: Time: 45:00 #TL002: The Burnley Brass Band Plays On In My Heart
Artist’s Website: http://oursmallideas.tumblr.com/
Available at: http://shop.12k.com/products/500637-tape-loop-orchestra-the-word-on-my-lips-the-burnley-brass-band-plays-on
I trace my interest in electro-acoustic and electronic music back to the late 1960s and early 1970s when I built crystal radios and electronic circuits, and started listening to shortwave radio broadcasts. Searching the radio dial late into the night, I often found the spaces on the radio dial between the stations as fascinating as the broadcasts from far away lands. Drifting in and out of sleep, it was the sounds of unfiltered carrier frequencies, blended oscillations, static and hiss, high-speed Morse code, and fading music and voices that I found so alluring.
This brings me to the mysterious realm that Andrew Hargreaves occupies in his third release under the moniker of Tape Loop Orchestra. Andrew is also one half of the duo known as The Boats (the other half being Craig Tattersall), and their most recent CD Ballads of the Research Department is a delightful collection of dreamy instrumental and vocal works released on the 12k Label: #12K1068 (http://www.12k.com/index.php/site/releases/ballads_of_the_research_department/).
The first CD in this two CD set, The Word On My Lips Is Your Name is an interconnected anthology of Andrew’s recent sonic explorations, deeply shrouded layers on metal oxide tape, no doubt for later use in a broader context. These linked recordings project a feeling of being cast adrift on a gently rolling sea, while fading in and out of consciousness. The pieces vary from deeply veiled Mellotron-string harmonies, muffled bell-tones, placid swells of dissolving piano, and cello (by Danny Norbury) on the edge of a choir. Every so often, a familiar instrument appears, but there is clarity only long enough to establish a presence in the loop before it blends into the other-worldly haze. Some portions are reminiscent of my favorite Edgar Froese album, the lush (largely Mellotron-ic work from 1975): Epsilon in Malaysian Pale/Maroubra Bay. There is a thoughtful (yet often ethereal) romanticism in this collection.
In the second CD, The Burnley Brass Band Plays On In My Heart, I feel a deeply held sentimentality for an era of long ago. It is a sonic (and also quite visual) tour filled with an indescribable yet comforting melancholy. It starts as a largo of highly obscured brass (of some sort). The journey shifts from obscurity to clarity as each connected section of sound layers emerge from the mist of clicks, blips and gentle tape hiss. The transitions are subtle as different layers of instrumentation are introduced and others drift away. There are soft winds blowing, restrained choirs with distant horns, hints of an orchestra, perhaps a church organ, and a string quartet. The looping introduces a calming pulse, and as the journey nears an end, the somber brass largo returns with added strings and fading choir.
Works such as this, is what brought me back to listening to electronic and electro-acoustic music in the last couple of years. I felt like so many instrumental works of this genre in the 1980s and 1990s sounded hollow, synthetic and inauthentic. This collection from Andrew Hargreaves of Tape Loop Orchestra is like a pleasant distant memory of the nights of long ago, hearing far-off lands and dreaming of how those places might have been, while drifting in and out of reverie late into the night.
A short excerpt…
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Post-script: Perhaps intended? The timing of each CD (and the resultant total) is not lost on me—a tribute to the 90 minute cassette tape format.
The Dwindlers – Allegories
CD: #has002 Time: 29:15
Limited Edition (50 copies per edition) on-demand published with illustrated booklet, poetry & credits. Review copy is from First Edition.
Band Website: http://thedwindlers.com/
Member websites: http://www.michelleseaman.net/ and http://www.benjamindauer.net/
Heart and Soul label: Allegories
http://heartandsoullabel.blogspot.com/2012/03/has002-dwindlers-allegories-book-of_15.html
Previous Album on FeedbackLoop label: Dreams
http://feedbacklooplabel.blogspot.com/2010/11/fbl008-dwindlers-dreams.html
Tracks: 1) The Pelican and The Girl; 2) Monkey; 3) How The Ostrich Became a Girl and Her Bicycle; 4) Pickering’s Hyla; 5) Widow, Daddy, and the Wolf; 6) Peacock and the Kitty; 7) Dolphin
Spoken word recordings have existed since the advent of wax and foil cylinder recorders. In the 1920s as Jazz was developing as a musical genre, poets were exploring differing rhythms and styles in their works, breaking away from more traditional forms of meter and rhyme. These were the explorations of E. E. Cummings, T. S. Eliot, Jazz Poet Langston Hughes and others. Syncopated rhythms, phrases repeated, and with some poets, the rejection of traditional conventions of punctuation and manuscript.
The Dwindlers are poet Michelle Seaman and bassist composer Benjamin Dauer. Their collaboration started in 2002 in Chicago and they now create their work in the southeastern US. Their first album was the digitally released “Dreams” on the FeedbackLoop Label #FbL 008.
Allegories combines instrumental Jazz with poetry and includes printed poems (of tracks 1, 2, 3, 5, 6 and 7) with illustrations by Seaman and instrumentation (I assume) by Dauer. It’s a very interesting and challenging album and I find the approach to be quite refreshing! It is a relatively short recording, spanning between a long EP and a full-length CD. Subjects relate to fauna, instincts, desire, observations, phobias and inner monologues (without being self-indulgent). The printed poems appear to be a framework for the apparently improvised recorded performances (might there be further improvisations during a live performance?).
As Jazz music is about listening, sharing, improvising, and responding, poetry can be used as another instrument or voice in an ensemble for counterpoint or support. Beat Generation writers expanded on this, like Jack Kerouac who was sometimes accompanied with improvised music during poetry readings (composer David Amram was known to sit-in and jam piano or bongos during readings). Jazz and Jazz Poetry has also been about activism and in the 1970s Gil Scott-Heron emerged (being influenced by Hughes) as a powerful voice in topical and confrontational spoken-word Soul, Jazz & Blues. Scott-Heron (also a rap music pioneer) greatly influenced later hip-hop groups like Public Enemy.
Other artists have continued to explore the spoken-word with a variety of music and multi-media artists influences: Jim Morrison and The Doors (described as “electric poets”), Laurie Anderson, David Byrne, Harold Budd (as on his 1991 album By The Dawn’s Early Light), and more recently the 2011 collaboration of Brian Eno and poet Rick Holland on their album Drums Between The Bells, and the growling reflections of Leonard Cohen on his 2012 album Old Ideas.
The voices of Allegories are sultry with occasional interplay of the technically descriptive. There are changing points of view and perspectives—seeing through another’s eyes (not necessarily human). The way the words are phrased against the music; they sometimes transform into layered double-entendres. The often-hypnotic and stark instrumentation punctuates the spaces between the words with a foundation of acoustic bass, layered electronics and percussion, adding to the tension and release.
The Pelican and the Girl starts with a shimmering veil and then plays between female and male voices and further heightens an implied sexual tension as descriptions shift from bird to woman and back. There are points where the words lure one into an imagined scene only to be returned to a stark lesson on natural history. The drums and bass during Monkey are reminiscent of Morello & Wright’s vibe on Take Five (from the album Time Out) and voice, although monotone; is similar to the interplay of Desmond and Brubeck. Pickering’s Hyla is an instrumental break and sounds akin to a forest at the vernal pools at dusk. The second half of the album is more layered, electronic and ambient after a sensuous acoustic “theme and response” bass introduction to Widow, Daddy and the Wolf. Peacock and the Kitty and Dolphin gently pulse with Seaman’s voice stroking fur, feather and flowing through water.
Allegories is a provocative and engaging album of poetry—vivid and shifting with very musical, alluring and technical Jazz counterpoint. The recording has a welcomed softness that does not compromise the clarity. It would certainly be suitable as background music (and would likely pique the curiosity of a roomful of listeners), but I found it best played at the level of a live performance to fully appreciate it.
The Pelican and the Girl (and two others) – The Dwindlers
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This is a solicited review.
What’s Spinning At Work Today? **UPDATE**
Cortney Tidwell’s – Boys: A really interesting (and at times experimental) exploration of songwriting and sound. This and her previous albums, one self-titled from 2005 and “Don’t Let The Stars Keep Us Tangled Up” from 2006 (with Kurt Wagner and William Tyler of Lambchop) have also resulted in some inventive remixes (by Hands Off Cuba) and videos. Available from: http://www.cityslang.com/
Savvas Ysatis + Taylor Deupree’s – The Sleeping Morning: A four track EP resulting from a 2007 collaboration. Electro-acoustic, peaceful and recorded directly to multi-track with minimal editing. The CD might still be available at some distributors, but a download is at: http://www.12k.com/ Try also…looks like the CD is still here: http://darla.com/
Lambchop’s – Damaged: Another in the canon of calming beautiful works with delightful wordplay as in the opening track “Paperback Bible”. Available at: http://www.mergerecords.com/
Gareth Dickson’s – Collected Recordings: After listening to Gareth’s latest album “Quite A Way Away” on the http://www.12k.com/ label, I hunted around for his previous work and found this, a collection of recordings from the previous five years on the http://driftingfalling.com/ label.
KORT’s – Invariable Heartache: This is actually the album that got me familiar with Cortney Tidwell’s solo work. A great album of re-recorded songs that were once on the Chart record label (run by Cortney Tidwell’s grandfather, Slim Williamson). Kurt Wagner of Lambchop is the collaborator, so Cort + Kurt = KORT. You can get this album here: http://www.mergerecords.com/store/store_detail.php?catalog_id=846
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Afternoon Postscript: OK, I was slow and missed the chance to get the original issues on CD and vinyl, so I settled for a 12k/iTunes download and burned CDs, so this is what’s on this afternoon:
Marcus Fischer – Monocoastal: I’m just listening for the first time as I type this. A combination of field recordings, found sounds, harmonics and textures woven and inspired by Fischer’s wanderings up and down the west coast for 20 years. This is Marcus Fischer’s website: http://unrecnow.com/dust/about
Taylor Deupree + Marcus Fischer – In A Place Of Such Graceful Shapes: This was originally issued as a small box with a CD and clear vinyl 7″. It really looked beautiful and am sorry to have missed out on it. More electro-acoustic heaven. More about this album and both artists here: http://www.12k.com/index.php/site/releases/in_a_place_of_such_graceful_shapes
A video excerpt is here:
Winter Garden: Eraldo Bernocchi – Harold Budd – Robin Guthrie
RareNoiseRecords – RNR021 – CD 2011 – 47:21
Available from: http://www.rarenoiserecords.com/bernocchi-budd-guthrie
Also available from: http://darla.com/index.php
Tracks: 1) Don’t Go Where I Can’t Find You; 2) Losing My Breath; 3) Winter Garden; 4) Entangled; 5) Harmony And The Play Of Light; 6) Heavy Heart Some More; 7) White Ceramic; 8) Stay With Me; 9) South Of Heaven; 10) Dream On
There are certain situations, places, visions, works of art or music that evoke emotions or memories that defy explanation; reactions that are beyond words, or perhaps descriptions that cannot do a sensation or experience justice. They are in effect, indescribable. This is the alluring feeling I am left with after listening to “Winter Garden”, the first simultaneous release by Eraldo Bernocchi (Italian musician and producer), Harold Budd (pianist and composer) & Robin Guthrie (producer, guitarist and founder of Cocteau Twins and Violet Indiana) on the RareNoiseRecords label.
In the December 2011 issue of HiFi Zine I reviewed Harold Budd’s latest solo work, “In The Mist”. (Please see: http://www.hifizine.com/2011/12/harold-budd-in-the-mist/ ). I won’t dwell much on Budd’s many prior collaborations, other than to say that he has worked with many artists, including Robin Guthrie on at least seven releases. I am familiar with Budd’s work with Eraldo Bernocchi on Music For ‘Fragments From The Inside”–music for an art installation by Petulia Mattioli (a long time collaborator of Bernocchi). “Fragments…” was recorded live in 2006 and released on Sub Rosa as catalog #SR239 JC. Coincidentally, Petulia Mattioli provided the graphic design and photos for “Winter Garden”.
I admit to knowing little of Eraldo Bernocchi’s extensive prior work, and that exploration is for another time, so I will stay focused here on what I know. For background, I offer some brief thoughts on recent overlapping collaborations with both artists and Harold Budd: the 2011 Darla release entitled “Bordeaux” with Robin Guthrie, as well as “Fragments…” with Bernocchi. In “Fragments…” Budd’s piano work presents as a languid yet grounded introduction to Bernocchi’s electronic peregrinations consisting of treatments, rhythms, samples and deep pulses. Budd’s piano seems to reach for and tame the electronic wanderings while sensuously weaving, almost teasing Bernocchi’s explorations. To close the seven-part work of “fragments”, Budd’s piano returns as the foundation of the work—how this related to the video installation, I don’t know.
With “Bordeaux”, the nine named tracks aren’t driven by rhythm, but by Guthrie’s guitar work forming fabrics of textures, colors and emotions for Budd to gently punctuate. The feeling of this work is of warmth and sensuousness. Guthrie usually leads-in with his layered shimmering guitar before Budd responds, to play off the direction and mood that Guthrie has set. There are exceptions to this on pieces like “So Many Short Years Ago”, “The Belles of Saint Andrew” and “Southern Shore” where Guthrie’s textures respond to Budd’s piano phrasing and chord changes.
In “Winter Garden”, as the album’s title suggests, there is a chilled and mysterious sense of expansive desolation throughout. It is imbued with the vividness of the changing color of a winter sky; sharp golden light to warm the blue-grey chill of the winter air. There is also a dream-state cinematic quality to this album. The trio of Bernocchi, Budd & Guthrie play as a meshed ensemble with each artist taking the lead, depending on the piece or feeling being expressed.
I posit that this album is more than just collected individual tracks, but it is a sonic novella. The titles and accompanying music express a direction, emotion or location in a somewhat enigmatic unknown story. Perhaps it is imagined or real, or a combination of both. It is evident that the opening track “Don’t Go Where I Can’t Find You” is a beacon cast as the main theme (played by Budd) that later returns in “Winter Garden” and again in track 9 “South of Heaven”, each in slightly altered forms. I speculate that track 9 is the actual ending of the overall “story”, with track 10 “Dream On” being a postscript. To me, this album presents in sound, as a cohesive and plausible story. A brief overview of the tracks:
1) Don’t Go Where I Can’t Find You: Budd’s piano takes the main theme with Guthrie’s layered guitar and light treatments from Bernocchi. The theme is an entreaty of sorts and there is a feeling of longing and desolation in the music.
2) Losing My Breath: There are long pauses that create a sense of tension in the theme, played by Guthrie, with brief responses from Budd. A sense of suspension and anticipation is apparent with slow movement to arrive at a destination.
3) Winter Garden: The title track, with main theme by Budd and supporting chords and bass line by Guthrie and Bernocchi. Despite what seems to be a desired arrival and sense of place, there is a dissonance in the sound overlays that I perceive as portraying doubt, a possible foreshadowing. Yet, there is also comfort and resolution in the theme.
4) Entangled: Bernocchi begins with a pulsing bass line, a sense of apprehension, but also movement with descending keyboard tones as the piece progresses. The “conversation” is between Budd’s treated and bending piano and Guthrie’s guitar melodies and chords, with Bernocchi overlaying rhythmic intrigue.
5) Harmony And The Play Of Light: A soft bass pulsing with layered keyboards and guitar, but here the piano is compressed, piercing the background and giving a sense of brightness. There is also a feeling of suspension and anticipation.
6) Heavy Heart Some More: The feeling in this track is somber, with a foreboding as it advances: deep piano and bass notes creating a sense of darkness.
7) White Ceramic: This track, to me, seems to be a pause of sorts (and I admit to having some trouble placing this is in the overall story). Perhaps it’s an aftermath. The tones are bell-like and the phrasing and melodies are wandering, and seem to me to be searching.
8) Stay With Me: A quiet beginning, piano and layered electronics leading to a subtle rhythmic backdrop and then movement, a sense of traveling somewhere again, perhaps from the winter landscape to return to an unknown destination.
9) South Of Heaven: The recapitulation of the slightly altered opening theme on piano, layered in shimmering guitars and bending electronics and subtle (deep) comforting bass notes, suggesting an ending and perhaps resolution.
10) Dream On: As if the sun is descending on a chilled landscape, a chorus of guitars and layered electronics move with the waning sunlight, a flowing bass line in support and piano as if thoughts are wandering…in reflection.
The recording of “Winter Garden” is expansive and crystalline. I found it so easy to listen to with rapt attention. It draws one into whatever the story that is being told. As soon as it ended, I wanted to begin again–gorgeous.
Stay With Me (Track 8):
Note: This article will be published shortly at a music & audio equipment-related online e-zine and IS a solicited review (although I already had purchased the recording).
Kane Ikin + David Wenngren – Strangers
CD KESH017: 45:54 (Mastered by Taylor Deupree of 12k)
Record Label: http://www.keshhhhhh.com/
Available at: http://www.experimedia.net/
1) Swell; 2) Call; 3) Veil; 4) Chalk; 5) Drifter; 6) Strings + Interlude
Album Preview:
*This posting has been updated upon further listening*
This is the first joint work created by Kane Ikin (one half of Solo Andata) and David Wenngren (Library Tapes). I have read that “Strangers” Ikin and Wenngren did not meet during the recording and that the structure and overall sonic feel of the album was not planned. This and other similar works mark a continuing re-emergence of instrumental music by a new generation of creative and technically inclined musicians that craft layered sound atmospheres (often referred to as “electro-acoustic minimalism”), yet the music is engaging and stimulating.
I have been an avid listener and collector of synthetic electronic music since the early 1970s, yet there is something to be admired about the production of fine instrumental music with an ambience and mystery of electronics, being created with cleverly disguised analog instruments (acoustic or amplified) as well as found, ambient, looped or processed sounds.
Historical context: While they abandoned their early legacy when they issued their boxed set “The Catalogue” in late 2009, Kraftwerk’s work started with a similar experimental spirit to “Strangers”, based on analog instrumental drones of guitars, flutes and rhythms of found percussion on pieces like “Kling Klang” from the 1972 album “Kraftwerk 2”.
Kling Klang Part 1: http://www.youtube.com/watch?v=50M7RLgipNc
Same with early works by Tangerine Dream and others, before they switched to early sequencers and then hefty modular synthesizers, like the Moog (or later more portable and somewhat less reliable EMS VCS3) as well as tape-based samplers like the Mellotron or Chamberlin. Early works by Evangelo Papathanasiou (Vangelis) were mostly created with organ, clavinet, woodwinds, piano and percussion processed with reverb, delay and other effects, as in “Creation du Monde” from the 1972 soundtrack to “L’Apocalypse des Animaux” by long time collaborator and filmmaker Frederic Rossif.
Creation du Monde: http://www.youtube.com/watch?v=J0QQJfPi3ps
In “Strangers”, there is meandering warmth to the album, a peaceful sense of comfort and meditation with a tangible awareness of humanity and nature (an absence of the synthetic). Layers of guitar, bass, piano (deep soundboard), percussion (low register bells and gongs) and strings appear throughout. From the collaborators there is a joint sense of discovery and response as each layered track progresses. This method of joint remote authorship is risky, yet very intriguing and the results are quite successful.
The titles of each track do seem to symbolize the development of the sonic ideas. “Swell” is akin to Ikin’s gorgeous recent work “Contrail” with apparent glissando drifts of guitar and layered keyboard peregrinations. “Call” has the feel of time-shifted incantation with repeated musical phrases. The intensity of the “call” increases as it progresses. While there is a general feeling of the pastoral in this track, there are times where layered sounds mesh to a point of tension, later to be diffused to a calming resolution. “Veil” starts with a repeated tonal beacon and gradually it diffuses into a suspended wash of winds, harmonics and tonal percussives. “Chalk” is hypnotic and haunting with a sense of a distant faded memory returning. “Drifter” contains repeated sampled phrases that establish a building tension as the fabric of the piece intensifies. Washes of noise (almost like lashing waves in a storm) enter the piece until they subside (this piece, to me, does appear to be chopped a bit at the end). “Strings + Interlude” builds slowly, and pulses as layers and sounds are introduced. It has a feeling of darkness, yet it’s punctuated with sounds that introduce light and color into the soundscape. Then the strings disappear and the interlude is a peaceful and mysterious aftermath–this piece, along with “Chalk” and “Swell” are the most cinematic.
This video using “Chalk” will give a sense of what I mean…rather unusual historic footage:
Gone are the soulless interfaces of MIDI and sequenced boxes of beat, and with “Strangers” we are presented with a thoughtful, visual and distinctive journey into an ethereal realm of musical authenticity.
Kane Ikin – Contrail EP
http://www.12k.com/index.php/site/releases/contrail/
Vinyl (7″ Clear) : A: Contrail B: Synthetic Setting Digital: C: Sailing D: Short Wave Fade (all 4 tracks MP3 d/l) Total time all 4 tracks: 21.5 minutes
This EP recording is a marvelous walking companion. Some pieces being better suited for the woods and the others for the exploration an old vacant factory. Kane Ikin is Melbourne, Australia-based and also one half of Solo Andata (this is KI’s first solo release outside of SA). The pieces are mysterious, hypnotic and transfer the listener to another realm. The recording is analog, tape-based and sounds vary from found, looped and sampled to plucked and percussive. There is an ethereal sense of a soft glare shimmering as sounds appear and dissolve. If one is fortunate enough to obtain a limited edition vinyl copy, it’s a real treat to see the care with which the 12K label takes in support of their artists.
When the EP arrived, I have to admit I was not sure at what speed to set my turntable. I inquired and the zen-like response from 12K made me laugh…but I had to ask, given a recent mistake I had made with another 12″ recording that I assumed was 33-1/3 RPM, but turned out to be a 45 RPM. THAT particular recording turned out to sound great either way, but it made better sense to my ears at the intended speed.
And this…
A promotional video for the EP:
wajobu 