BANDWiDTH – Walking Ghost Phase (2011)

Ayan

• Experimental electronica 
• Power electronics 
• Avant-garde 
• Noise 
• Drone 
• Abstract 
• Experimentalism 
• Improvised noise 
• Non-music 
• Psycho-acoustic

Comment: the Frenchmen David Vilayleck aka Ayankoko and Mathieu Garrouste do create a batch of nine compositions which is based on a couple of live sessions. Recently I saw a TV show about a ghastly event when a saleswoman dialed the telephone number of a man and additionally contacted with his woman who as later was figured out had already been dead/killed. Supposedly the ghosts can use energy for their own sake coming out from the wire. Of course, by dealing with such intentional experiments one must be very warned. On the other side, we cannot eradicate a possibility regarding our lack of knowledge, our prejudices, and some sort of manipulation. It just may be a case of belief. Musically the duo provides a tense experiment with phase changes, for searching a balance between silence and noise, between abrupt intensity and stepwise relaxation. Like it is quite common to noise music some phases are just switched on and some not, and vice versa (the so-called straight, one-dimensional approach). Paradoxically the least strange/hostile element are the voices which supposedly belong to ghosts. The mind-provoking outing is a part of the discography of Ayan Records, and Clinical Archives.

Ayankoko – Selfies (2017)

Ayan

• Experimentalism 
• Noise 
• Experimental electronica 
• Glitchtronica 
• Leftfield 
• Psycho-acoustic 
• Avant-garde 
• Sampledelic 
• Improvised noise 
• Abstract 
• Microtonal

Comment: to be more hysterically happy and neurotically deranged please take selfies and push them even more onto the screen. Keep smiling with quavering hands and thereafter administer some relaxing medicine. France-based Ayankoko`s 10-track issue reflects finely upon madness based on noisy interruptions, transistor-based short waves and incisive high-pitched frequencies to be interspersed all through the lengthy (58-minute) course. On the other side, a listener can enjoy more mellow glimpses (more profoundly, cool jazz whiffs, melodic cut-outs) in the meanwhile though I guess it just created with strict purpose to establish a safety zone between our synapses and the predominantly belligerent sonic array represented over there. For instance, at 2017.4.25llrec15.32.29 one can take part in an uncanny dub exercise which eventually will progress into a peaky digitalised yet melody sustained mad situation. Undoubtedly those noisy torrents are highly appealing because one can enjoy how energy will set free in huge amounts very quickly. The moral conclusion of the issue is that your selfies to be taken and then posted to social media create more noise and fluence than the issue over there. It is a state of art over there which cannot be stated about taking those damned facial pics. The mind-provoking release is a part of the discography of Ayan Records.

Ayankoko – Dreaxine (2009)

tecnoNucleo

Ayan

• Rhythmic noise 
• Power electronics 
• Avant-garde 
• Experimentalism 
• Leftfield 
• Electronic music 
• Drone
• Noise

Comment: this handful of tracks is intermittently advanced and retreated by the attacks of rhythmic noise, and bouts of more restraint appearances. Dynamically it creates the sense of moving further, from one detail to a different one. In the music history, it is a classic narrative to showcase the clash between noise, and silence. Within the whole the listener may perceive music as multiply shattered and crushed but the aforementioned wrestling gives it coherence and constructive tension. Pulsating signals being accompanied by convulsive glitches and cut-ups are the counterparts of one's heartbeats though as such kind of ones impending of an attack of cardiac arrest. Thereafter when all of that aggressive by its nature is succumbed the angels of the rusting are up there to fade away across a silent pathway to the corroded garden of an Eden. The outing is a bit in the discographies of tecnoNucleo, and Ayan Records.