CD DR-21 Time: 56:34 – http://dronarivm.com/
Tracks: 1) Donitsk, 2) Daithn, 3) Skdiv, 4) Aoleeignal, 5) Rionzemef, 6) Vansunbarth, 7) Pleq Remix of Rionzemef
I’ve been a bit out of the loop with Dronarivm label releases for the last six months or so, but one of their new albums caught my ears—the collaboration with Pjusk and Sleep Orchestra.
Drowning In The Sky initially strikes close to home in its sound aura since we are just emerging from a VERY long winter here in the northeast USA. Pjusk’s (Rune Andre Sagevik and Jostein Dahl Gjelsvik) music is often rooted in their Norwegian locale being inspired by weather, landscape and nature and Sleep Orchestra’s work (as noted by Christopher Pegg) is often influenced by science fiction or imaginary soundtracks to “…movies in your head…”
From what I have heard of their prior respective works, I wouldn’t have necessarily thought that their musical styles would merge comfortably, but after listening to Drowning In The Sky the combination works quite well. The album does indeed seem very much like a soundtrack to a short film of an imagined journey that starts in a stark and harsh landscape of wind, snow and ice—not exactly a comforting place to be, but the solitude brings a focused awareness of the surroundings (Donitsk). Eventually the scenes change and there is a transformation from an outdoor landscape into more industrial and metallic-sounding scenes (Daithn) with sporadic rhythms. Taut and glitchy beats emerge and then there are layers of cavernous spaces, like giant shipyards or factories with remote gantry cranes (Skdiv), sharpened with a solo trumpet.
In time the scenes are darker (Aoleeignal), although still quite spatial with sounds dancing within the mix, and there is a strong visceral undercurrent and an increased sense of motion. There is a return to an outdoor environment: water and wind in Rionzemef and an auditory sense of being in a vehicle of some sort (a large truck, train or ship perhaps) while experiencing a storm and pulsing undercurrent from outside the vehicle. The environment, despite being a long way from the desolation of an Arctic plain continues to intrude into the soundscape and at a windshield or porthole…or in the mind. Vansunbarth appears to be the arrival at the imaginary destination, where furtive sounds move quickly, muffled announcements, signals ring and footfall moves in a foggy haze, disorienting as if being awakened suddenly from a traveling slumber.
The album is a journey of contrasts, from the far reaches of harsh yet pristine tundra to the gritty environs of an industrial zone, from desolation and isolation to population. Pleq’s remix of Rionzemef gently sways and is more hypnotic and comforting than the original track.
A historical comparison: Drowning starts off being quite similar to Envangelos Papathanassiou’s chilling soundtrack to the film Antarctica and ends up more in a post-apocalyptic and highly cinematic realm of Bladerunner. Also of note, (and I always prefer a physical release to digital) Dronarivm has changed their CD sleeve to a quite effective recyclable folded heavy cardstock slide-out package; my only comment would be to ask that the inner portion slides out another centimeter farther for easier access to the CD.
Time Released Sound – TRS 030 CD – 16 tracks/031 Vinyl – 11 tracks (300 copies)
http://timereleasedsound.com/ – Mastered by Lawrence English
[Frank] Benjamin Finger is a freelance photographer and director from Oslo, Norway who has completed several short films and music videos in addition to his work in television and photo exhibitions. He has two previous albums Woods of broccoli (2009) and For you, sleepsleeper (2011). More on his previous music work is here:
Listen To My Nerves Hum is a curious album—it took a few listens to settle-in with me. It’s neither soundtrack nor is it a cohesive album of music with a connective tissue other than the pieces are built upon simple (and often repetitive) phrases on piano (co-mingled with voices or field recordings). I tried to find a thread that would tie things together. The album (for me) in the end is more like incidental music to shorts scenes in a film either built upon visions or daydreams. Some tracks conceal mysterious hosts and surroundings (like Birthslides and Consonace of Fear), others sound celebratory (Ano Nuevo Acid Crackers’ fireworks and Ode To Blissa’s marching band with prominent snare drum cadence). Some tracks are somber, almost funereal as on Fearless VK. In particular, I found the first track Birthslides to be appropriate for the approaching Halloween season—rather furtive and mysterious.
Consonance of Fear (Vocals by Inga Lill-Farstad)
Some parts of Listen are quite pleasant and tranquil (Road To Salema, By Sinus and Outside of You), and others I found quite dissonant or distracting (such as Das Paris Des Second Empire Benjamin). I also detected that when adult voices were part of a given mix, the metronomic piano was played on the lower pitch end of the keyboard whereas with the sounds of children upper register notes were used.
Road To Salema
It’s a pity that I didn’t get to see one of the original 70 deluxe CD version before it sold out (boxes with collages and a small hanging sculpture made from antique piano parts known as The Hammerheaded Wippin Bird, Time Released Sound being well-known for their handmade releases): http://timereleasedsound.com/shop/releases/benjamin-finger-listen-to-my-nerves-hum-deluxe-version/
The vinyl LP (limited to 300 copies) is available here: http://timereleasedsound.com/shop/releases/benjamin-finger-listen-to-my-nerves-hum-vinyl-version/
Perhaps the label might consider releasing Tracks 12 through 16 as a digital EP to accompany the vinyl LP.
The CD version has 16 tracks, 11 tracks are on the LP: 1) Birthslides 5:06, 2) Consonance Of Fear Vocals – Inga-Lill Farstad 3:13, 3) Bogatynia In Mother 2:30, 4) Leaving Linjavegen 3:56, 5) Das Paris Des Second Empire Benjamin 2:22, 6) Road To Salema Vocals – Inga-Lill Farstad 2:50, 7) Ano Nuevo Acid Crackers 3:46, 8) Editions Du Scorpion 3:12, 9) Sevilla On Tape 5:00, 10) Returning To Birthslides 4:06, 11) Ode To Blissa 3:00, 12) By Sinus 2:40, 13) Fearless VK 4:08, 14) Lapse 2:54, 15) Voice Crackers 3:06, 16) Outside Of You 2:30
This is a solicited review.