Comment: indeed, by now I
decided to review two issues by an artist within one comment because
I am listening to a tape which physically includes both of them being
issued by Tallinn, Estonian underground imprint Trash Can Dance (a print-run of 36 tapes; soon in next days it will be officially announced for sale). Trent Hawkins is the pseudonym of a guy from Tartu, Estonia who is
also known as the drummer of a local stoner rock group, Smõuk.
However, substantial guitar riffs and oppressive psychedelic noodling
of desert rock is jettisoned for floating synthesisers and ticking
rhythms which are up there to depict something otherworldly and
beatific. I like the artist's pure aesthetic of Kosmische Musik where
all the elements are enjoyably aligned to constitute a logical whole
with enchanting space between and around. It might slightly remind of
some works by M. Geddes Gengras under Umor-Rex where one can discern
similar perceptions of mathematical relations and measures between
the establishing sonic elements. Furthermore, it is as pristine as
one counterpart could be against lousy aspects surrounding us in our
every day's life. A sort of music for escapists. Similarly to the
American musician's soundscapes the recent one is also the grower. At
first glance it might seem a little bit lightweight and even
superficial but it is the deceptive impression. At first one needs to
take some time for warm-up to comprehend this hippy of ambient music
(the description by the label boss Gert "Trash" Moser). Or
maybe not, though. All in all, both of them are fairly fine ones. After listening to these ones I am sure you will be listening to Trent Hawkins third issue (3) either (also available in tape format on Trash Can Dance).
Comment: it's great
pleasure to be back again at the discography of Birdsong, an Israeli
imprint which does not release albums anymore as I have understood.
Fortunately there are up a lot of albums worth to be discovered. For
example, this 12-track issue was released 11 years ago reflecting
partly upon tendencies being actual at the time. One of the
categorisations of mine was New Weird because the artist uses a DIY
and lo-fi/bedroom recording approach to accentuate his naive folk and
indie drenched preferences. On the other hand, it is comfortable to
generalise something being out of the centre and outsider yet
involving many different facets. More profoundly, there are up
detuned tinny guitars and low-end synths and a sitting monkey in the
sheepskin jacket additionally to Yonatan to provide something
tickling and exciting and flesh out your fantasy. From nowadays
(free)folk approaches to storytelling and American Primitivism in music, from
improvised moments to light-hearted, carnival-alike yacht rock
roundabouts, from vivid found sounds to introverted guitar twanging.
That's great – all these audible and imaginative elements and
contrast between them.