Tench – TCH-07 CD: About 35 Minutes
Label and Information: http://www.tenchrec.com/TCH07.html
Tracks: Stasis, Division, Hang, Counterpoise, New Lights, Congruence, Inertia, Parity
I read something recently by a musician whose work I admire about disconnecting from modern life, even for a short while, and in the time away a sense of one’s true self may return, even briefly. During that time, relationships with others might even improve. The mystic writer of the Victorian era, Richard Jefferies also wrote of this in some of his essays in the latter part of the 19th century. The pace of what I call life’s ‘carousel’ is sometimes so dizzying, and at those moments, no matter what beckons it’s often time to get away and seek a refuge. Personally, my quickest solution is to go for a walk in the woods, or even local streets away from the din in the mind or work at the desk.
M. Ostermeier’s new CD Still offers a cleansing respite with both passive and active listening. It took a few tries (first while doing other things and then sitting and focusing on the music) to condition myself, but by the time of the third audition, I was tuned-in. Most of the pieces have a piano-dominant center, the primary melody or phrases, and there are sonic backdrops delicately stitched in which complement a given theme. The melodic arrangement is often more akin to Far Eastern rather than Western musical structure, but it isn’t always the case. There is no ominous darkness here, only soft and gentle light. In fact, Stasis opens the album as if the Sun is rising and shadows can be observed to course slowly across the camera obscura of the imagination.
From what I recall of M. Ostermeier’s splendid last album, The Rules of Another Small World, this work seems more focused on acoustic instrumentation with electronics and sampled sounds taking a more secondary role. The album is largely a preservation of the quietude, but there are moments as in Counterpoise, the only marginally forceful piece on the album, where after attention is grabbed it turns into an almost gentle pattering massage, which is eased with a slightly distant piano and other microtones. The fabric of Congruence is gently percussive, reminiscent of dampened marimbas. The CD closes at its most broadly sonorous and harmonic in Parity, with only a hint of foreboding, yet thankfully, no sudden dose of reality.
As is often the case with meditation or self-hypnosis, one loses a sense of time, after entering into a state of deep relaxation. What the clock tells us is a half an hour feels as if it’s only moments, not easily parted from, but wanting to return–like a dream one doesn’t want to end. It’s often difficult to find time to escape to a quiet forest, lake or one’s favorite place for truly as long as is needed, so in lieu of that disappear into some contemplation and take time to think, reflect and be Still.
Yes, I’m guilty. I haven’t written many reviews of late–no other excuse except that there are many other things going on (not to mention a really rough winter), but here’s some of what I’ve been listening to, and I will also soon be writing a review of a forthcoming album on the Eilean label by Twigs & Yarn (some may recall that their The Language of Flowers on the Flau label was my favorite album of 2012). I recommend any of these albums.
A Winged Victory for the Sullen – ATOMOS: Kranky 190: I want to really like this album, but I struggle with some sections. I instantly loved their eponymous first release, but I continue to listen.
Steven Wilson – Hand. Cannot. Erase.: KScope 315: Follow-up to The Raven That Refused To Sing, and I frankly need more time with this album to formulate an opinion. The recording lacks the clarity and strength of the last (engineered by Alan Parsons), but I’m working through it.
M. Ostermeier – Still: Tench TCH07: Just started listening; minimal, soothing, and it is both in the background and can be for focused listening–a combination of melodic sounds and microtones. Helpful for calm…need more of that!
Robin Guthrie & Mark Gardener – Universal Road: Soleil Apres Minuit SM1501 CD: Comfortably familiar sound and soothing lyrics–shoegazing for the Sun.
I’ll likely have more to say on these soon, but for now, rest assured that my recommendation will not disappoint.
I’m hoping for Spring, and SOON!
Lest you all think that I only listen to Ambient and Progressive Rock music, I also listen to many other genres including Country music…wait, WAIT, don’t close the window–you won’t regret it!
Sturgill Simpson – Metamodern Sounds in Country Music (High Top Mountain): This new album by SS is the real deal. Great country songs about real stuff with great music, and even better the first single released is Turtles All The Way Down (with a nod in the title to Stephen Hawking) and it’s deliciously psychedelic with reverb, phasing-shifting and Mellotron. Give it a listen:
Shearwater and Sharon Van Etten – Stop Draggin’ My Heart Around (SubPop): From Record Store Day 2013, I missed this single, but I found it on RSD 2014 in the back of the singles bin—aha! The A side is by Tom Petty (which I can take or leave), but the gem is Jonathan Meiburg’s A Wake For The Minotaur—it’s just plain stunning. This live version features vocalist Jesca Hoop.
Songs: Ohia – Journey On Collected Singles (Secretly Canadian): Not much I can say about the tragic loss of Jason Molina that hasn’t already been written. Thank goodness we have Molina’s musical legacy, including his last band Magnolia Electric Company—great songs and music and many of subjects of Molina’s songs turned out to be prophetic. Long before he died, his last label Secretly Canadian was discussing releasing a boxed set of the early singles of Songs: Ohia, many of them quite rare and long out of print. Unfortunately Jason didn’t live to see it. It’s a beautiful blue cloth wrapped boxed set of nine 7” singles with a separate book of the original artwork and song histories and a CD compilation of all the singles. These were available on Record Store Day 2014 and they disappeared quickly…I was very fortunate to find a copy. Here’s a video on the set. If you can find one, buy it, you won’t regret it.
Mutual Benefit – Love’s Crushing Diamond (Other Music Recording Co.): Bob Boilen from NPR’s All Songs Considered got me to this album. Part folk, part psychedelic and reminds me a bit of a softer Grizzly Bear (the band) at times.
Ben Watt – Hendra (Caroline – Unmade Road): I’ve been a fan of Everything But The Girl (ETBG) since their early days and then Tracey Thorn and Ben Watt put that project on an indefinite hold while they pursued other musical endeavors and had a family. Tracey has released a number of excellent solo albums and this is Ben’s first solo album—very introspective. My favorite song is The Levels and David Gilmour plays slide guitar. This is a live version:
Lee Gobbi – Purple Prose (www.leegobbi.com): Lee is a fan of Progressive Rock music and the influences are clear on his self-produced debut album of mostly original songs with guest appearances by alums of the original 1970s and 80s Steve Hackett band. There are strong shades of The Beatles, ELO and the vibe of George Harrison’s work in this album. There are a couple of covers, a Stu Nunnery tune Madelaine (remember Stu Nunnery from the early 1970s?!) and a haunting version of Nick Drake’s Parasite. A brilliant first album, and I hear that there is a second album in the works—stay tuned. I’ll post some sound samples when they are available.
John Pizzarelli – Double Exposure (Telarc): This album from 2012 is of song interpretations and some pairings by Jazz guitarist (and son of Bucky Pizzarelli) and Popular song-man. The album is largely covers, with an original by Pizzarelli and his wife Jessica Molaskey Take A Lot Of Pictures (picking up where Michael Franks left off with his song Popsicle Toes). My favorite is the soulful Neil Young song Harvest Moon.
Elaine Radigue – Trilogie de la Mort (Experimental Intermedia): When I reviewing Nicholas Szczepanik’s latest album Not Knowing, I noticed the dedication to French composer and electronic music pioneer Elaine Radigue (born 1932) and I was reminded of this 3 CD trilogy that was composed as a tribute to her son upon his death. It’s very minimal with gradual layers in parts and intense at others. Like most of her other work it was composed on an Arp 2500 modular synthesizer. Since 2001 she has composed on and for primarily acoustic instruments.
Superchunk – I Hate Music (Merge Records): This is the band that started Merge Records (http://www.mergerecords.com/i-hate-music) and if you have a chance read their book Our Noise – The Story of Merge Records. I heard FOH (stands for Front of House) just before the album was released and ordered it instantly (and then waited, since it was a preorder). Be careful, it’s raucous!
Tomotsugu Nakamura – Soundium (Kaico): I have Tench and Words On Music label’s Marc Ostermeier to thank for getting me to Nakamura’s work. He is a sound artist from Tokyo and Soundium is an album of microtones, springy and glitchy rhythms and fractional sound samples. The sounds and instrumentation are so pure—this is a great album and delightfully quirky at times. http://naturebliss.bandcamp.com/album/soundium
Lateral reference: Soundium reminds me of the absolutely enchanting album In Light by 12k label’s Small Color (and I think that everyone should buy this album): http://www.12k.com/index.php/site/releases/in_light/
Federico Durand – El estanque esmeralda (Spekk): I find this album to be Durand’s most melodic work so far. Many of his previous albums and collaborations focus on longer form field recordings combined with bells, wind chimes and other instrumentation. This album concentrates on childhood memories of places and times, presented in delightfully concise pieces . The three latest Spekk label releases are in the larger format CD sleeves and they are a welcomed change from small digipacks, jewel boxes or (worse yet) plain sleeves. The music AND the art matters. http://www.spekk.net/catalog/esmeralda.html
Celer – Zigzag (Spekk): Will Long AKA Celer is well known for his extensive ambient works and soundtracks. This is a more rhythmic (albeit subtle) electronic work. Have a listen: http://www.spekk.net/artists/celer.html
Melodia – Saudades (Kaico): Melodia is a collaboration of Federico Durand and Tomoyoshi Date. I missed the original LP on the Own Records label, so I was quite pleased that Kaico released a CD version. More here: http://kaicojapan.tumblr.com/
Opitope – Hau (Spekk): This is the first album by Tomoyoshi Date and Chihei Hatakeyama. Micro-tones, found sounds, ambient and field recordings along with instrumental (acoustic and electronic) improvisation make up Hau. The album is charmingly subtle at times and crystalline at others. The pieces are observations and explorations of places and experiences. http://www.spekk.net/artists/opitope.html
Opitope – Physis (Spekk): This is the latest CD from Opitope. The pieces are longer form than on Hau and curiously feel more like minimalist Jazz, at times. The instrumentation is more direct (recognizable), yet the environmental and visual influences are still present.
William Tyler – Lost Colony 12” 45 RPM EP (Merge Records): Unlike Tyler’s recent (and fabulous) album Impossible Truth, which is a solo guitar album, this EP is a band release and Tyler reinterprets the track We Can’t Go Home, covers Michael Rother’s Karussel and the entirety of Side A is devoted to Whole New Dude. Dude is a ramble with a meandering opening (with excellent pedal steel by Luke Schneider) and then sets off on a driving rhythm (drums, guitar, pedal steel and bass) for the duration. It’s a traveling song, heading out “there” to explore, and Tyler lets it rip towards the end. http://www.mergerecords.com/lost-colony
Orcas – Yearling (Morr Music): Orcas are Benoit Pioulard (another guise of Tom Meluch) and Rafael Anton Irisarri. This is the follow-up to their first eponymous collaboration in 2012. Yearling is part environmental instrumentals and part songs. The opening instrumental track Petrichor reminds me of Brian Eno’s The Spider and I from the 1977 album Before and After Science. I complained about the tone and mastering of BP’s most recent album, but this album sounds MUCH better. The songs are lush with vocals and harmonies by Pioulard—really nice music with oft-catchy refrains.
Tench Records: CD TCH06, about 43 minutes
Tracks: 1) Fen; 2) After The Rain; 3) White Forest
There are unknowns and misconceptions when it comes to learning of others in far away lands and different cultures, but we have a universal language: Music. Music with or without words, music of nature or created with found or built objects. This is perhaps where we can find common ground and even Peace among us. We can hope.
Years ago when I was in school I had a friend from Tehran, Iran who sadly I have long since lost touch with (I always marveled at his design work, because it was rooted in ideas and techniques so different from my own), and later I got to know another person from a different family who fled Iran during the 1979 Revolution. This person’s family was persecuted because of their beliefs (sound familiar?). We became friends and colleagues in the mid 1980s after he made his way to America via Europe and we have since learned of each other’s heritages (and enjoyed many spirited discussions over the years!). We all have stories, histories, struggles and desires—we have far more in common with one another than we often think.
Porya Hatami is from Sanandaj, Iran and although we have never met in person, I believe I feel Hatami’s deep and universal desire to reach out and share the experiences of his culture and environment in the hopes of achieving connections we can all appreciate while preserving our regional identities. With all the turmoil and fear bred by our countries and political establishments, Hatami’s music is a magical beacon of hope and beauty observing the natural world around and more of what binds our humanity instead of what separates us in our beliefs and politics.
Some of Shallow is taken directly from the fens and streams, some from the sky and rain, and some from soft breezes in the trees (as in White Forest), while parts are symbolically reminiscent of those places and experiences (real or imagined). There is deep sense of warmth in Hatami’s work. At times it’s so delicate and tender and at others it gently soothes and envelops–allowing one to drift freely into an imagined experience (like where Fen transforms from an environmental to more of an inner dream or even underwater experience at the mid-point of the piece, before returning again to the outdoors—as if from reality to dream and back again). After The Rain opens as if soft comforting rays of sunshine have entered the morning with a fresh mist still falling from trees or eaves (you can decide).
Shallow is available here: http://www.tenchrec.com/TCH06.html
I think I’m ready for Spring, but since that’s expecting too much at this point I’ll just stick to what’s spinning here lately…
Tompkins Square Records – Imaginational Anthem Volumes 1 to 5 (boxed with William Tyler’s Elvis Was A Capricorn, live performances) and Volume 6 (Tompkins Square TSQ 2790 and 2851): I purchased this on intrigue after a few other TSQ label purchases and upon learning that Hallock Hill’s Tom Lecky had a piece on Volume 5. It’s a wide-ranging collection of mostly acoustic guitar (American Primitive “fingerstyle”) works by some musicians well known (Max Ochs, John Fahey, James Blackshaw, Jack Rose, William Tyler, Daniel Bachman and Robbie Basho) and others more obscure. The WT live CD is a bonus in the box, which is not sold separately—his wizardry is hypnotic. Volume 6 has 14 historic recordings transferred from 78s. It’s a really fascinating collection.
Robert Rich – Morphology (Anodize AD 1304): After really enjoying Rich’s last CD Nest, I thought I’d try this 2010 live recording (released in 2013). At some sections it’s more rhythmic than Nest, but this again takes me back to the Modular Moog days of Tangerine Dream’s double live album Encore. Turn down the lights, turn up the volume and take a ride.
Lambchop – Nixon (MRG175): This is a reissue of the 2000 release to help celebrate Merge Records’ 25th anniversary. I opted for the CD, which includes a second CD White Session 1998 “How I Met Cat Power” recorded in 1998 (Lambchop “represented” by Kurt Wagner on vocals, tape loops and guitar recorded for Radio France). Gone is the jewel box of the original and everything is contained in a double gate-fold sleeve with enhanced artwork. This album was my introduction to Lambchop and the 5 track bonus CD (with 4 tracks from Nixon and The Saturday Option) is like having a private concert by Kurt in your living room.
The 78 Project – Volume 1 (http://The78Project.com – 78P-001): Somewhat like the Black Cab Sessions, this is the first of what looks like many forthcoming albums, most of the songs are traditional, recorded in one take on one blank lacquer disc on a 1930s vintage Presto direct-to-disc recorder working at 78 RPMs in full ruby-cut monaural with ambient noise and all. Artists on this first volume include Richard Thompson, Loudon Wainwright III, Rosanne Cash and John Leventhal, Marshall Crenshaw and 9 others. The LP is mastered for 33-1/3 RPM. Old school and a fascinating concept.
Porya Hatami – Shallow (Tench TCH 06): Recorded in Sanandaj Iran, Hatami’s latest album is a gorgeous instrumental work with three extended pieces (Fen, After The Rain and White Forest) of field recordings, loops and minimal instrumentation that are hypnotic, peaceful and produce a strong sense of place, and an escape.
The Autumn Defense – Fifth (Yep Roc YEP-2354): The core of the band is still Wilco’s Patrick Sansone and John Stirratt and this album for the most part picks up where their last album Once Around left off—well crafted songs with a relaxed but catchy vibe (some feel like they’re from the 60s and some could be from the 70s–make me think of Graham Gouldman’s work.)
Hiss Golden Messenger – Poor Moon and Bad Debt (Tompkins Square 2660 and Paradise of Bachelors PoB-11): I got to HGM by poking around in TSQ’s back catalog and that led me to these two albums by the core of M. C. Taylor and Scott Hirsch (the latter being a reissue of Taylor penned and recorded songs which were a reaction to the 2008 financial crisis). Stark at times, but I was immediately drawn into the genuine nature of the lyrics and roots-like instrumentation and arrangements. Real solid albums and I’m looking forward to their 2013 album Haw when it arrives.
Steven R. Smith – Tableland (Emperor Jones EJ35CD website: http://www.worstward.com/): Smith has a number of musical personas and in addition to music he is an instrument builder and print maker. I’m most familiar with one of his aliases, Hala Strana (that work is more eastern European and traditionally-rooted). Tableland is a (sadly, this 2001 CD is out of print, but download is available here: http://worstward.bandcamp.com/album/tableland) haunting and somewhat moody collection of largely electric guitar-based soundscapes that could easily be a soundtrack for a roadtrip to a long forgotten territory.
Rosanne Cash – The River & The Thread (Blue Note Records B00195t202): Some musicians and artists with well-known predecessors often have periods of distancing themselves from those strong roots, breaking away to establish themselves. Rosanne Cash (whose dad was Johnny Cash) and John Leventhal have produced a beautiful album of songs tracing RC’s memories and influences that have gradually resolved with time and understanding of the struggles of humble beginnings and the trials of fame. The song Night School is stunning. Get the CD version with the bonus tracks.
Ben Lukas Boysen – Gravity (Ad Noiseam ADN168CD): The striking cover illustration drew me into the wake of this album and Boysen’s placid rhythms and harmonious aura suspended time.
Harold Budd – Avalon Sutra (Darla DRL 285): This is a completely remastered (by sound engineer Bradford Ellis, who has worked with Budd for 30 years) reissue of the Samadhisound double CD that was first released in 2004 (often referred to as Harold Budd’s last album before he retired from composing and recording—lucky for us it was a false alarm!). This double CD has new artwork and photographs, and the recordings have greater depth and clarity.
Harold Budd & Jane Maru – Jane 1-11 (Darla DRL 287): This is a two disc CD and DVD video release. The CD is the same as DRL281, and the second disc includes video companions (by artist Jane Maru) to each of the tracks on the album. Some of the videos are a very light touch with minimal effects and others explore colors, depth of field, transformation and the passage of time. I wrote last year about this very special Harold Budd album. Jane Maru did the cover artwork for this and the original CD release—she also does some really wonderful batiks.
And let’s not forget a favorite of mine – Kraftwerk!
I’m ready for the Spring Thaw! Happy listening.
I need some warmth on these cold winter days…
Ron Sexsmith – Forever Endeavour
I love Ron’s work (another thoughtful Canadian songwriter—imagine that?!). He writes such great songs. My problem with his work, at times, is that sometimes his songs are just too sad, but Ron has a gift for making a sad song curiously uplifting, like Michael and His Dad from his last album Long Player Late Bloomer. I started listening to Ron’s work in 1997 with his third album Other Songs (produced by Mitchell Froom and Tchad Blake—coincidentally Froom produced Suzanne Vega’s Nine Objects of Desire the previous year, another favorite album of mine). Forever Endeavour is sparsely arranged, but strings, horn, percussion, pedal steel or electric bass are right there when they’re needed. Other than that, the songs are Ron’s voice, and his acoustic guitar. He has a gift for wordplay and expressing emotions with a deft efficiency that flow so naturally with his melodies. Some songs on Forever Endeavour are ironically upbeat, like Nowhere Is and Snake Road—in a sense, keeping the faith.
The CD has two bonus tracks (songs written with Don Black and recorded by Don Kerr), Life After A Broken Heart and Autumn Light, and they are just plain gorgeous additions to this album.
Nowhere To Go
Lorna – Heart of Wire
This is Lorna’s third album on the Words On Music label. The collective from Nottingham, UK creates dreamy contemplative songs with shy vocals and delicate harmonies. I’ve read of some comparisons to Yo La Tenga, but Lorna’s instrumentation tends to be more complex, and chamber-like at times. I think that this is their most direct album of the three for Words On Music—their sound is more confident, but they haven’t lost the softness and (at times) melancholy of their lyrics. I think the strongest songs on this collection are As She Goes By, Old Shanklin Sunset and Mina and Marco (with a delightful melodic phrase sample borrowed from composer Edward Elgar).
Daphne Lee Martin – Moxie
A woman after my own heart—part record store owner, part musician; for many years, Daphne has been part of the New London, Connecticut-based band Raise The Rent. Moxie is the first of two releases (the forthcoming being Frost), and is a sultry collection of songs of the (only mildly) lurid backstreets of her imagination (with the added bonus of occasional Mellotron accompaniment!). There are shades of the cheekiness of the Squirrel Nut Zippers and the “heat” of mid-1970s Maria Muldaur in this well-produced album. I have an idea for what to expect from Frost—counterpoint!
Heligoland – Sainte Anne
Sainte Anne is the latest EP from the Paris-based Australian quartet known as Heligoland. Their work in the last few releases has come under the wispy spell of producer and musician Robin Guthrie (who also plays occasional keyboards and bass), so it was only natural that I try their work. My favorite tracks on this EP are Sleepless and 22 Miles—peaceful ethereal guitar and bass balanced with gently pulsing drums and Karen Vogt’s warm and full vocals (channeling, at times, the sound of Christine McVie with a bit of vibrato). Other band members are Dave Olliffe (guitars and keyboards), Steve Wheeler (bass) and new member Antti Mäkinen (drums and percussion). Their previous albums and EPs include: Bethmale (recorded in 2010 and released in 2012), All Your Ships Are White (2010) and A Street Between Us (2006).
Corazón from their album All Your Ships Are White
And even more wonderfully creative releases from the Flau label in Japan… I can’t possibly buy them all, so one must be…somewhat…selective.
The Boats – Our Small Ideas (2012 Edition)
I have thoroughly enjoyed the various releases by The Boats (Craig Tattersall and Andrew Hargreaves with Danny Norbury, Chris Stewart and others). Our Small Ideas is a re-release and enhancement of an original 2008 CD-R. Contained in this work are the often quirky and sometimes fragile and nascent threads of pieces to be released later (and some are quite recognizable). This album is not unlike the approach of CD #1 of Tape Loop Orchestra’s The Words On My Lips Is Your Name/The Burnley Brass Band Plays On In My Heart.
Sound samples are here (since The Boats seem to eschew Soundcloud): http://www.flau.jp/releases/r09.html
El Fog – Reverberate Slowly
This is a solo project of Berlin-based vibraphonist Masayoshi Fujita, a light blend of acoustic instrumentation with a tranquil late night aura of electronics and subtlest of glitchy rhythms.
Masayoshi Fujita – Stories
Stories is an album of solo acoustic vibraphone works (with occasional violin and cello). Whether struck gently (as in Snow Storm) or bowed (as in Cloud), Fujita paints vivid, yet tender sound pictures. Some pieces are rhythmically playful, and could form the foundations for musical conversations (much like those between Bill Bruford and Michiel Borstlap on their album Every Step A Dance, Every Word A Song). This is an appropriate soundtrack for gently falling snow. The album is beautifully mastered by Nils Frahm.
Swan and Morning Dews
Graham Gouldman – Love and Work
Graham Gouldman has been writing songs since the days of The Yardbirds (For Your Love), and many others like Wayne Fontana and the Mindbenders, before formally crossing paths with Eric Stewart, Lol Creme and Kevin Godley (Hotlegs) who later became 10cc with a long string of albums with sharp, witty and often sardonic songs. Love And Work is an album of twelve beautifully crafted and wide-ranging songs.
The album dedicated to the memory of Andrew Gold, and the song Daylight is about Andrew. They worked together as the duo Wax and earlier on some of 10cc’s later albums.
I’ve seen Graham and Ron Sexsmith appear together on BBC Songwriters Circle programs. Perhaps Graham and Ron will work together someday…
For Your Love
Happy Listening–Stay Warm!
Thank you to all the artists and record labels for such wonderful and diverse music.
This is one list of many, it’s my list, and it leaves off many other favorites that I have enjoyed over the year in addition to the thousands of other albums and single tracks that make up music throughout the World. What has helped me arrive at this list is what I have always loved about music: Does it move me? In addition, is it creative, well recorded and produced with a degree of care that makes me pay attention to it? There was a time when I was obsessed with highly produced and tightly engineered works, then I learned about artists such as East River Pipe and Sparklehorse, and many other genres of music were opened to me.
If you don’t see your favorite album on this list (or even your own album), it doesn’t mean a thing. If an album has been reviewed on my website this year, it’s meaningful to many others and me, but this is only a very, very small slice of the music world. Often people ask me about new music, and what I recommend. When I started this website in late January, 2012 it was first a means to write about music that I enjoyed, but also to get to know other artists and learn about new music that they create, so I could pass it on. Often, the best new music is that referred by a friend. Please feel free to send me your comments and recommendations.
Special note: There are still three or four late 2012 releases that are either enroute to me, have yet to be released or have just arrived. I need to spend proper time listening to and absorbing these albums. Rather than delaying this list further, and if after listening to those last 2012 releases I feel that they hit a sweet spot, I’ll review those albums in early 2013. I know of at least two 2012 releases that I’ll likely not receive until 2013.
I have three categories: Albums (12), Individual Tracks (6), and Special Releases (3) that don’t necessarily fit into a category.
Albums (Artist – Album Title – Record Label)
1) Twigs & Yarn – The Language of Flowers – Flau
2) Lambchop – Mr. M – Merge Records
3) Zammuto – Zammuto – Temporary Residence
4) Steve Hackett – Genesis Revisited II – Inside Out Music
5) Taylor Deupree – Faint – 12k
6) Billow Observatory – Billow Observatory – Felte
7) Gareth Dickson – Quite A Way Away – 12k
8) Pill-Oh – Vanishing Mirror – Kitchen. Label
9) Brambles – Charcoal – Serein
10) Almost Charlie – Tomorrow’s Yesterday – Words On Music
11) Cody ChesnuTT – Landing On A Hundred – One Little Indian
12) Stick Men – Deep – Stick Men Records
Individual Tracks (from other albums)[vimeo http://vimeo.com/46499688]
1) Library Tapes – Sun peeking through (from the album Sun peeking through) – Self Released
2) Cock & Swan – Orange & Pink (from the album Stash) – Lost Tribe Sound
3) Alex Tiuniaev – Daylight (from the album Blurred) – Heat Death Records
4) Kyle Bobby Dunn – In Praise of Tears (from the album In Miserum Stercus) – Komino
5) Kane Ikin & David Wenngren – Chalk (from the album Strangers) – Keshhhhhh
6) Olan Mill – Bleu Polar (from the album Paths) – Fac-ture
1) Celer & Machinefabriek: Maastunnel/Mt. Mitake, Numa/Penarie, Hei/Sou – Self Released
2) Birds Of A Feather: Michael Frommer – The Great Northern Loon, Porya Hatami – The Black Woodpecker, Darren McClure – The Black Kite, The Green Kingdom – The Great Blue Heron – Flaming Pines
3) Simon Scott, Corey Fuller, Marcus Fischer, Tomoyoshi Date and Taylor Deupree (Recorded live in Japan October, 8, 2012) – Between (…The Branches) – 12k
Record Labels Noted Above
Merge Records: http://www.mergerecords.com/
Temporary Residence LTD: http://temporaryresidence.com/
Inside Out: http://www.insideoutmusic.com/
Kitchen. Label: http://www.kitchen-label.com/
Words On Music: http://www.words-on-music.com/
One Little Indian: http://indian.co.uk/shop/landing-on-a-hundred-1.html
Stick Men Records: http://stick-men.net
Library Tapes: http://librarytapes.com/
Lost Tribe Sound: http://www.cockandswan.com/ Note: I have not listed the weblink to the record label as Google has noted that the website MAY be compromised.
Heat Death Records: http://www.heatdeathrecords.co.uk/
Kesh (Simon Scott’s label): http://www.keshhhhhh.com/
Flaming Pines: http://flamingpines.com/
Tench – TCH03: CD Time: 39:58
Record Label Website: http://www.tenchrec.com/
More on this release: http://www.tenchrec.com/TCH03.html
Artist Website: http://thegreenkingdom.wordpress.com/
Available at: http://darla.com/
1) Three Friends Of Winter; 2) Backyard Epiphany; 3) Over Treetops; 4) Cherry Theme; 5) Slow Bloom; 6) Green Theme; 7) Floatation Themes; 8) rshda; 9) Whispered Through Pines
Whether in a conscious state of reverie or in the pre-waking hours when fleeting visions come forth into the camera obscura* of the mind, there are moments where hanging onto the edges of dreams is perhaps more desirable than even slumber. And after the dreams end, in the glistening haze of the morning, The Green Kingdom’s latest album, appropriately titled Incidental Music, is the soundtrack for this quietude.
My first experience with Michael Cottone’s work was on the Home Assembly’s #HAM004 album from 2010 entitled Prismatic, and his more recent album Egress on Nomadic Kids Republic #011. Incidental Music holds time in suspension with subtle rhythms, and gentle yet tangible instrumentation (crystalline guitars, keyboards, kalimba and minimal processing) that encourage a calm wandering state of mind. Although different and original in his approach, there are some similarities in the feeling and sound in Cottone’s work to Dictaphone’s recent album Poems From A Rooftop (Sonic Pieces) and The Boats album Ballads Of The Research Department (12k), two albums that I like very much. It is evident that great care was taken in the recording of this album, and it has been beautifully mastered by Tench’s M. Ostermeier.
Three Friends Of Winter is the placid introduction, a point of awareness without a concrete reality. Backyard Epiphany is serene in its sense of movement and passage of time. Over Treetops is the beginning of a gentle awakening. There are Satie-esque moments of allure as in Cherry Theme and Green Theme, even after a chimed nudge opening in Cherry Theme. Slow Bloom and Floatation Themes blur the sense of time. rshda is the most ethereal track on the album; the moment before stirring, where reality is still beyond reach. The album closes with a gentle awakening in Whispered Through Pines.
There was a place-holder for album #TCH03 at Tench Records for some time. Now the mystery is solved, and the void filled with these delightfully tranquil scenes and halcyon musings from The Green Kingdom.
* Tip of the hat to Mr. Williamson.
Words On Music – WM33: CD Time: 42:17
Record Label Website: http://words-on-music.com/
More on this release:
Artist Website: http://www.almostcharlie.com/
Available at: http://darla.com/
1) Hope Less; 2) Open Book; 3) Sandsong; 4) Man Without A Home; 5) A Nice Place To Die; 6) Tomorrow’s Yesterday; 7) Still Crazy ‘Bout You After All These Years; 8) Cummings; 9) Youth Is Wasted On The Young; 10) Undertow; 11) When Venus Surrenders
I have a broad rotation of albums, all sorts of genres (I listen to more than ambient and electro-acoustic works, despite what some might think from my reviews). Since its release in 2009, Almost Charlie’s album The Plural Of Yes (TPOY) hasn’t been too far away from my CD player. It’s a great album of songs written in the tradition of Elton John and Bernie Taupin or Burt Bacharach and Hal David, musician and lyricist working separately. In the case of Berlin’s Dirk Homuth (singer and multi-instrumentalist) and New York City’s Charlie Mason (lyricist), they still haven’t met in-person and aren’t separated by “two rooms”, but two continents and an ocean. It’s evident, however, from their work together that they communicate well, no matter what the distance.
Tomorrow’s Yesterday is the latest release, and I’m really happy that Almost Charlie has returned after three years with more beautifully crafted and skillfully recorded songs. There are familiar faces in the band: Sven Mühlbradt on bass and Pelle Hinrichsen on drums and percussion with the addition of Bert Wenndorff on piano as well as other supporting musicians.
For those unfamiliar with Almost Charlie, I find similarities to the songwriting and sound of bands like The Beautiful South, The Autumn Defense and some of the less raucous songs of the Fountains of Wayne. I’d even compare some songs to works by 10cc (either written by Eric Stewart/Graham Gouldman or Kevin Godley/Lol Creme). Similarities to the Beatles are also unmistakable (especially the voice of John Lennon with a bit of George Harrison on the track Still Crazy ‘Bout You After All These Years). There are marvelous wordplays, edges of wit and subtle metaphors in the lyrics resulting in this latest collection of musical gems.
The feeling of Tomorrow’s Yesterday is a bit more pensive and acoustic than TPOY, but there are upbeat, playful and spirited tracks too. Instrumentally, the foundation of most of the songs is guitar, bass, drums and piano, but many of the tracks are delightfully punctuated with brass, woodwinds, sitar and dobro guitar. Some of the finest moments are simply acoustic guitar and Homuth’s vocal harmonies, as on Sandsong, which is a bit melancholy and reflective. In this album there are songs of relationships, a sense of realism, but not resignation; acceptance and contentment, but also a feeling of hope as in Cummings. I also appreciate that the recording is crisp and sounds like a live performance in the studio with minimal processing. There was only one point (at the end of the last track) where the recording was sounding saturated on my equipment, but I stress this is a minimal issue.
Hope Less (a song of setting expectations) begins with acoustic guitar and harmonies and then advances into a march of sorts. This and Open Book are great examples of the smart wordplay in the lyrics, double-meanings, literary references and a deft efficiency of expression. Man Without A Home and Youth Is Wasted On The Young are ironically upbeat ruminations with shades of The Byrds (electric guitars), syncopated rhythms and are gently arranged with brass and strings respectively. A Nice Place To Die has a lively rhythm and bluegrass roots-music vibe with dobro and violin solos. Tomorrow’s Yesterday is a stark and melancholy observation on the passage of time, and perhaps more than any other track Homuth is channeling John Lennon’s voice (literally and figuratively).
Undertow (a favorite of mine) has power in its symbolism and realism; the words and music combined are indeed greater than the sum of their parts. The passage “The more I try to fight it; Its grip on me is tightened…Overwhelmed by the undertow” is about as close to perfect as it gets. The closing track When Venus Surrenders builds from a quiet beginning, and is the longest and most ambitious song on the album, similar to the spirit of The Monster and Frankenstein from TPOY with a nod, I think, to The Beatles’ Let It Be.
As The Plural of Yes was in 2009, Tomorrow’s Yesterday is one of my favorite song-albums of 2012. Perhaps next time lyrics could be included in the package, since they are such an integral part of the songs. The Homuth and Mason formula works, the chemistry is still there, and I hope they continue to write songs together and we hear much more from Almost Charlie in years to come.
Monty Adkins – Fragile.Flicker.Fragment
In my review below of M. Ostermeier’s latest album, I didn’t note that Marc referred me to the work of Monty Adkins and specifically his recent CD “Fragile.Flicker.Fragment.” This album is a real gem, beautiful electric and acoustic pieces and wonderfully produced and it has been nominated for a Qwartz8 award in the album category in France: http://qwartz.fr/2012/01/24/qwartz-8-categorie-album-cat/ It’s available at Audiobulb Records: http://www.audiobulb.com/
The track “Remnant” has an accompanying video, which is here:
Marcus Fischer – Collected Dust
Also, I recently became aware of the work of Marcus Fischer (why do I miss all these great artists?). He has a just released CD entitled “Collected Dust”. Please read more about Marcus’s work at his website: http://dust.unrecnow.com/ as well as at Tench Records (sound files here): http://www.tenchrec.com/TCH05.html The CD just arrived yesterday and it’s playing now. A splendid work (also electric and acoustic in a similar vein to Monty Adkins’s work).
Tench Records – TCH04 – 37:11
1) Micro Forest Updraft, 2) Streambed Arrangement, 3) Sunlight on My Desk, 4) I Took Out Your Picture, 5) Floorboards, Well-worn, 6) Trickle Down, 7) Fast Darters, 8) Underwater Drifting, 9) Retreating Night, 10) Suspicions, 11) Ngth
I’ll admit it; I was first intrigued with this album because of its cover, images of an abandoned sci-fi pod-style housing project in northern San-Zhr, Taiwan taken by photographer Craig Ferguson. Coincidentally, I had recently purchased the band Should’s sharply crafted album “Like A Fire Without Sound” on the Words on Music label. Little did I realize, but M. (Marc) Ostermeier is also part of Should, along with Tanya Maus & Marc’s brother, Eric. Marc is also co-owner of the Words on Music label. After rather experimental sampled-guitar beginnings in Austin, Texas, Should’s music has evolved into rather direct (and often very catchy), yet introspective, post-rock works sometimes classified as the “shoegazer” genre.
“The Rules of Another Small World” certainly takes some cues from Brian Eno and Harold Budd’s ambient works together and it sounds as if one is exploring the environs of what is depicted on the album’s cover. In contrast to Should’s directness, this is music-on-the-edges of consciousness or the fringe of a dream, with great depth. It evokes, for me, a feeling of having vivid memories without remembering all of the details, yet still being left with strong images, sounds and colors. The album has an almost early-era Kraftwerk beginning, similar to “Kling Klang” from the 1972 album “Kraftwerk 2”. In that work, bells, gongs and chimes of various types start and then drift into a muffled drone of flute, guitar and electric piano.
Audio Tracks “Micro Forest Updraft” & “Underwater Drifting”: the-rules-of-another-small
Ostermeier uses electronic and acoustic instruments (piano and possibly a vibraphone) effectively and melodically throughout with various treatments. There are ambient sounds, real and electronically created. The recording is penetratingly clear and broad, but not overpowering, so the result is a very relaxing and sensuous exploration of an ethereal musical realm. This is music with a direction, not free-form ambient sounds, at all. With each subsequent listen, I hear new things and focus on different parts and counterpoints in the recordings. Marc previously released an equally intriguing album “Chance Reconstruction” TCH01, with another beautifully decorated sleeve of black and white forest images.
TCH01 Chance Reconstruction
http://affordableaudio.org/Affordable$$Audio/Current_Issue.html and http://www.hifizine.com/ Stay tuned for additional online locations.