Nick Rivera Happy song is a happy song (La bèl)

In Cagliari born but now in London residing Michele Sarti aka Nick Rivera is being and has been participant in the line-up of many groups (Bron Y Aur; Franklin Delano; Sunny Day Sets Fire; Oh Atoms; Takoma). Yet, his recent project is definitely an act of intimate folk, or folk-based art which tends to search for diverse sonority fields, potent harmonic angles, making out impressive experiments with baroque pop, shuffling analogue electronics and cinematic undercurrents of epicness, all in all, finding out an equilibrium between the kind of astonishing inner harmony and outer form of beauty. Of course, Sarti is not alone, being assisted by many other musicians. For instance, at Renee Luise, the opening track, beautiful unisoned vocal lines are compiled by voices of him and Mary Dow. Indeed, an amazing track. Or in the other place the unisoned chords of fingerpicked strings (guitar, ukulele) and cello keys do play out a perfect chamber folk example (Horn Y Orgy). Or is it as if Air`s Moon Safari`s most epic moments were mastered in the vein of chamber pop attitude somehow? The title track enters into the indie folk area, more concretely, reminding of the Welsh whimsical folk wizards Gorky`s Zygotic Mynci`s playful shufflings on the ground of bucolic acoustic pop jams and acid-filled synthezised passages. Happy song is a happy song is one of the most excellent appearances (if not the best) in 2011 so far. Imagine you having a home in the countryside and you are sitting outside for looking at the sun`s going down. A truly great monumental set indeed.

Listen to it here

9.8

Moji Moji N (Resting Bell)

N is the second release by Lucas Page, a Buenos Aires-born musician, mainly inspired by magnificent looks upon the landscapes of his homeland. 5 instrumental tracks do include sensitively loaded (slide) guitar workouts, keyboard-illustrated shades and effects, vibraphone-alike cinematic chords, rigidly stomping drums and some distinctive musique concrete additions, all in all, reflecting the snowy peaks and abysmal lakes in Patagonia. Indeed, the different paces, accents and milieus can be detected here for to have the organic sense of epic responsibility via a kind of post-rock-ish manifesto. In a nutshell, if you like the works by God Is An Astronaut or the ripples by Mice Parade, no doubt, lots of satisfying minutiae can be found from here.

Listen to it here

8.9

Tunguska Electronic Music Society Ellipsis II: Tundra.Ambient.Dreams. vol.2 (Jamendo)

The Moscow-based Tunguska Electronic Music Society (TMS) can be admitted as an umbrella organization which embraces lots of musicians, producers, dj's and composers, who work in a profilic way from the beginning of 2007 in "Tunguska Music" style. Moreover, TMS is also a net of network music distribution labels and a net of little bars and cafes. Its branches are known under such names as Tunguska Chillout Grooves, Tunguska Music Society, Tunguska Project, Tundra Ambient Dreams, Tayga Feeling, Transsyberian Express, Nikola Tesla Tribute, etc.

Before the listening to the Ellipsis II: Tundra.Ambient.Dreams. vol.2 I made acquaintance with the previous ones by the likes of Ellipsis II: Tunguska.Across.Sphere. vol.2, and Ellipsis II: Tunguska.Shaman.Vimana. vol.2, which were more dominated by chillout-esque electronic music being interchanged via smooth jazz themes and mindtouching, atmospheric-fried electronic approach, respectively.

However, the collective fills in the Tundra-titled album with a different point of view being kicked off proceeding in an epic mix of ambient, drone, ethnic drums, wherein Kosmische Musik-alike acid-hued synth swirls are permanently zipping over vast landscapes, which progression later involves the elements of space rock/space synth, unleashing the flow of metallic shards and fluttering, atmospheric sonic arrows over to the space around to be expanded and conquered. In principle, it does recruit a quite austere sonic statement, it is even minimally designed out, on the other side, it does not afford minimalism-close attacks for itself, offering enough propulsions and warbles on its own. Sometimes the whole does acquire peculiar dimensions via weird, even dystopic sonority as if those frogs and insects living in the futuristic, robot-dominated world, would have been mutanted via genetic changes, respectively resulting in croaking and chirping out mechanical sounds hardly discerned. Moreover, any signs about the presence of human being are long dismissed. Still at the closure some resurgent, chant-esque vocals will be appeared to get evolved into a few patterns, yet, getting no dominant reference within the soundscape. For the nature-based concrete soothings as forthcoming concrete sounds in the last tracks, however, are much more importance reserved.

In the conclusion, I really wish to express affectionate hope that the epicness is a universal chracteristic and hence allowing for the 13 tracks within 75 minutes to actualize great touches and milieus for any kind of listeners.

Listen to it here

9.4

Muhr Her Fall Themes (Bandcamp)

The Montrèal-based musician Vincent Fugère can be considered a webaudio legend, having released countless albums under his aliases during the last 12 years. Indeed, aside as Muhr, he has also used such aliases as Koei, Vizion, Kaminari Synthesis, A Few Days Until Never Again, and Life As A Tree and managed 2 records - Apegenine and Camomille. By having been heavy-drifted above the realms of subtle electronica, drone, ambient, post-rock, and modern classical/chamber music Fugère has been a part of the conscience of his hometown`s famous experimental scene. More concretely, the albums like Drames Et Précipies (2006, Zymogen), Poussière (2007, Serein), Anthèmes pour les Regrets (2008, 12rec), and Farewell Anthology (2009, Soft Phase) can be labelled as pure gold by conjured stunning accents based upon the meandering on and between the area of elemental appearance of the nature and invisible closeness to the civilization. So if someone is really into the sound of Hauschka, Daniel Maze, Bosques de mi Mente, GY!BE, Max Richter, Sylvain Chauveau, The Sight Below, Fugère`s soundscapes may complete the kind of array for you.

In fact, after Farewell Anthology the quebecois has had serious hesitations either to continue or to make the final closure as Muhr, but fortunately decided to trundle on with his new numbers. At Her Fall Themes are represented 10 tracks of minor, piano-based insights stepping over to the more brighter voyages directed over to imaginary landscapes being sometimes seasoned with march-infused cadences are beautiful appearances which, in principle, may be stayed for the last examples regarding his creation so far.

Listen to it here

8.8

Alexander Martovsky Libidolove, Mortidowar (Foundamental Network)

A young, 23 year-old musician from Minsk, Belarus, Alexander Martovsky has been active throughout the ending year, having issued no more or less albums than 3. The album Libidolove, Mortidowar, after his previous workouts M42, and Keep Quiet, Everybody Is Sleeping, reflects upon his skillfully aesthetical and professional aspirations, and it might be, still searchings for certain realms to get landed somewhere for having a possibility to be settle down into a mould for his personal future. Actually the last intention may not make much difference at all, as a final result being ideally reached off in principle and represented as one of the best notches in 2010. In a more concrete way, there are 14 tracks building up a exhilarating whole between lush shoegaze-filled soundscape, mesmerizing poptronica and post-rock-ish blowups, minor symphonic arrangements a la Ennio Morricone, and rigid/austere electronic music experiments, subtle IDM-cadenced opalescence and malignant drum and bass-based motorik whips, and for much more, and for much more. All in all, it reminds of 2010`s superb works of Monokle & Galun (In Frame), and Foxes in Fiction (Swung from The Branches). No doubt, listening to the tracks like You, and Heaven, what should it be described for? Would this album predict Martovsky`s position as a further experimental rock star or, on the other hand, shows up the overally screwed-up substance of pop business?

Listen to it here

10.0

[Artists] S.o.m.a

Sinewave
Myspace
Lastfm

[Artists] Alexander Martovsky

Foundamental Network
Sgustok Net
Lastfm

I Have A Box Bunnies (Fwonk)

This 6-track set of a debut album consists of a subtle net of indietronica/poptronica, caustic electronic pop, fusion, downtempo and post-rock as well, having its roots apparently set in the synthetic approach of obscure bands in the 70`s, of kosmische musik, more detailly, drifting between rock-esque sensitivity and ambient music, respectively. So it is placed between soothing and dynamic, between static and trippy, having mainly based upon extended guitar chords, unarticulated but epic vocal segments, cluster-laid rhythm sections (sometimes march-angled) and airy or shimmering synth wisps coiling up into the upper dimensions at times. In a kind of weird way, it can be considered either austere or lush at the same time. In a nutshell, if you are used to be a sympathizer of GY!BE, Air, Monokle, or God Is An Astronaut, this album is up here to be directed for you.

Listen t it here

9.2

Fur Devastate The Details (Mine All Mine)

The US band Fur is back with its sophomore release, and the 6-track offspring does sound rousing and refreshing. Do you guess the quartet is coming from? Of course, from Detroit, from the motor city. And their music is quite comparable with the acceleration and chase of vehicles, and mesmerizing gazing of the go-by of route bollards and grey-green-esque mixed panoramas. Their majestic rock pose is digged deeply into an eloquent incarnation of shoegaze, grunge, post-punk, gothic and alternative rock shades. Overrolling guitar hooks and overdrives do pinball around epic and abrasive area, creating vital pop conceptions, being compiled of the shoegaze-influenced Smashing Pumpkins from the 90`s, the Interpol`s murky pop rock sheen, Joy Division-esque ennui screen, the Lycia-alike overhead hovering sombre shapes, and of course Break Me, My Love having a kind of pattern as if Kurt Cobain has made his feature for the Devastate The Details. However, my very fondness is moulded into title track, with the natural-born-breakbeat-paid-for rhythm section, penetrating riffs, and atmospheric synths, being wrapped in by a lot of key changes; and Houston played out via the meeting of a bittersweet verse-chorus and shape-changing guitar appearances. The rock music in its honesty.

Listen to it here

9.1

[Old but important] Etrethn EP (Tavern Eightieth)

By concerning on for listening to music this very purpose is not only related to wholly hedonistic consideration to be enjoyed. Its side task is to discover small music communities and movements within the vast music business circuit, acknowledge them and integrate them into a broader system of the music community. Nowadays, because of the expansive popularity of different virtual social environments (Facebook, Twitter etc) it is not only the task and straining of the music critics anymore.

Maybe you can remember for I had overviewed such a Leeds-based vanguard dream folk musician as Michael Waters aka Model Warships recently, who is known by his uncountable collaborations and side projects and his constructive relationship with certain labels like Tavern Eightieth and BeatIsMurder as well.

One of such cooperations by Waters is Shi Toys with Edward Trethowan (also the British) whose doings are concerned on the likes of Anva, An Insection, and Etrethn (yet obviously misunderstood by myself how to spell it, though). Trethowan`s action with Etrethn can be viewed on the one issue only. However, merely named as EP (of 6 tracks within 29 minutes) it is really worth to pay much attention for it. As the basic processing peak, a fine and calculated interplay between noise, kinds of pulsations and psycho-acoustic ambiences, and throbbing industrial-alike rhythms can be detected here. By my opinion, as a speculative exercise the EP might be divided into two sections, correspondingly, consisting of first five tracks, and the last (and the most extended) one Shackracing.7, which is an omnipotent case of magnificient, epic ambient noise/cadencic space rock/ambient techno monstrum.

Listen to it here

Fescal Endorphin (1798)

This year has been busy for Fescal, a British native residing in the South Korea at the moment, having previously released some issues under Black Square (Omnia), and Bypass (Lethal Industry) AD 2010.

However, endorphin is in effect a good substance for one`s brain to lift up the mood and give a firm push for a subject`s further movings and actions. The essential question is, should it always be designed into a variegated output or might it be the matter of sparseness as well? Regarding an example of Fescal`s new one, I can admit that the last named possibility has also a solid perspective, though. 7 tracks consisting of sparse layers of ambient, throbbing microtextures, subtle tape hiss-based ingredients and darkwave-esque harmonies. Even a half-way inbetween ambient and krautrock-alike touch are conjured here (Sheep Dip), and the glass bead game of Door Cinema (with the assistance of loops, droning microsounds, and musique concrete). Indeed, by its mood the sonority of the whole at times does consist strange (dystopic) impulses of an isolated place somewhere. Here the writer says that the best tracks are the two last ones (Waltzing Nature; Frozen Time) and the first one (Hollow Spirit), finding out and acquiring mightily epic point of views.

It to estimate the album from the ideal perspective of ambient and experimental music, the result is getting proportionally close to the final end.

Listen to it here

9.3

Alessio Ballerini Blanc (Zymogen)

The privilege, the pleasure is mine... . Zymogen is back with its new notch, Alessio Ballerini`s brand new heavy album Blanc. The coverprint with a snowy mountain peak...what is it up here to be referred actually? As it is obviously known "Blanc" does mean as "white" in French, so is it possible to have somehow a reference to the highest peak in the Europe? Why not, though in fact, the album concerns on climate changes regarding the melting of the ice sheets of Greenland. 5 tracks are appeared here to be sounded really warm and comfortable, though, it is full of ghosts and ghouls, which, however, are not used to be frightening occurences. The whole one might be reminiscent of borealic space of Tim Hecker, endlessly snowy landscapes, chaotically swirling airy vectors and silent whirls of the storm. Here you can relax for listening to hiss-infused mini-orchestrations, electro-acoustic trash-y clangors, minimally sounding piano loaded modern classical pieces. Could you imagine that a kind of (beatific) shit and a piece of beauty are rolling alongside to get finally joint together, and as a result, delivering a hallmark about an exhilarating sound example in the end of 2010. By the way, Ballerini is helped by Canenero, Gianni Pavan, and Christian Fennesz (indeed, by this famous österreicher Fennesz).

Listen to it here

9.4

[Artists] Fescal

1798
Bypass
Black Square
Fescal/Bandcamp
Lastfm

Monokle & Galun In Frame (12rec)

Vladislav Kudryatsev & Aleksandr Kumach aka the Arkhangelsk-based combo Monokle`s third album Tesaurus (under Id.eology) was one of the best albums of 2009. Now Kumach has left the band and Kudryatsev is joined by a former beatboxnik and otherwise versatile artist Sergey Galunenko aka Galun and the result does seem even in better way to be sound. 12 tracks give testimony of prominent examples of songwriting, balancing between post-rock, poptronica, chillout, downtempo, indie rock. It is used to be continually dense, and warm, and mostly it is so intensely loaded with dreams that the soundscape does seem a bit lazy in the good manner sounding up very nostalgic and relaxing to my ears, conjuring up gratifying listening memories from the past by approximately 10-12 years ago. The tracks like Crossed Fingers, and Means are reminiscent of the manner by Brendan Perry, and the beatific times when I spent the most of my time in the bibliothek of the Tartu University for listening to Dead Can Dance among others. Regarding the next track (Justalite) I shall have to ask you do you remember Louis Armstrong`s great track We Have all the Time in the World for one of the James Bond-related soundtrack? (It was also covered by My Bloody Valentine). Regarding the motive of this track you can see really close similarity with it. Get At Will remembers one of the toughest work, being grew up from the Estonian underground scene Bizarre`s sophomore album Cafe de Flor (1996, Forwards), especially the track Airs Of Arabia with otherworldly chanting female voice and shoegazers` atmospheric guitar swayings. In a nutshell, one of the best works of the 2010.

Listen to it here

9.8

Phillip Wilkerson Daybook EP (BFW Recordings)

As his first name used to be unusual the englishman Phillip Wilkerson is an important and special name among sonic experimentalists and soundscapers. He has released shitloads of albums during last five years, under such labels like Bypass, Resting Bell, Earth Mantra, Amorphos Music, Justnotnormal, and BFW Recordings as well.

4 tracks released in the start of 2010 are used to sound in a very broad way, involving in epic and warm-sounding choppiness, sometimes it can be distant and anonymous, and even "sexy" would be a correct adjective. Probably the tags as "dreamscape" or "subtle soundfields" are the most proper characteristics to describe the essence of the release. No doubt, the coverprint which illustrates a kind of colourful sphereness does convey the stand of the EP in an excellent way. Wilkerson`s quality is here to be proven again. A great masterpiece.

Listen to it here

9.5

[Concert] A Silver Mt Zion Live at La Sala Rossa on 2005-06-16 (Archive.org)

A Silver Mt. Zion (and its various titles), a band from Montrèal, is probably the best known act which is grown out or related somehow to Godspeed You! Black Emperor (formerly as Godspeed You Black Emperor!) and is the most involved band via its members (Efrim Menuck, Thierry Amar, Sophie Trudeau) as well. In fact, the aforementioned musicians have been influential collaborators not only on the post-rock scene but also related to alt-folk and indie circles in the North America during last 10 years at least. However, after GY!BE was going on hiatus, therefore the prime privilege was delegated over to ASMZ. If to compare differences between two bands, in the first place, it is the using of vocals, and the soundscape of ASMZ is inclined more to psych-oriented numbers, and indie music as well. For an argue, it seems a bit slower, having been involved in classical music-based arrangements (eminent cello and violin undercurrents), and via Menuck`s gratingly lamenting and sometimes euphorical vocal manner as well. All of those elements are to be heard in an excellent way on this live session also, recorded at La Sala Rossa in their hometown in 2005. Inbetween the songs you can be a witness for the interactivity between Menuck and audience and jocularities regarding "dudes", iPod and Coldplay, and birdfeeders as well. My cue toward indie music wasn`t arbitrary because of Menuck`s euphorical and lament manner (sometimes simultaneously) and the exploiting of chamber music devices and elements so you are getting to see more the link between ASMZ and Arcade Fire (moreover, they have more common through of recruiting the same musicians, and using the Constellation-related studio Hotel2Tango too).

Listen to it here

Blezna Árbole (Alg-a)

The soundtrack of my day comes from Asturia, Spain. Blezna is an experimental sound project, inspired by asturian forests and those trees. Behind it is Juanjo Palacios who took care of soundscapes recordings, virtual instruments, plugins, sample manipulations, composition, process, photography and graphic design. Indeed, it is not wrong to be named it as a kind of the-one-man-orchestra, because this does not consist only of vivid and intense snapshots among the trees, where you can predominantly hear the cracks of burning wood, and at a time the rustling of rain which will be overtaken by lighter and darker soundscapes which by this side will be developed into funeral neoclassical orchestrations and even martial-alike undertows. Such a kind of adduction of neutral-minded field recordings and epic classical music developments is not common at all. By its approach Palacios´ work does remind a bit of another spanish composer Bosques De Mi Mente. What else could I add that those brisk eight tracks constitute a sequent top-notch in the long array of the 2010 best releases.

Listen to it here

9.5

Caustic Reverie Remainders (Jamendo)

Have you ever listened to a least one of the fiveteen albums by Bryn Schurman (also know as TheForgotten)? I meant just an one time at least? In fact, Remainders is not an album on its own terms though, being compiled of different tracks having had no locus on the previous albums. In fact, Schurman would be called as the king of metallic drone music, whose monotonic soundscapes and minimal sonic conceptions are paradoxically fulfilled with a lot of warmth and powerfully conclusive feelings. It seems like a logical follow-up to the tradition of minimal composers for nowadays. Or you can imagine it as if La Monte Young or Angus Maclise would have sat behind a computer board and building up some new frontiers within borrowed borealic aesthetics of Tim Hecker. Yet might there be any adjectives to describe the whole in a better way? "Caustic reverie", it would be an obvious answer, though. A lot of impacts are associated with it - the nothern lights shimmers, elemental dust-coloured iceness, epic sub-classical approach, creeping microtonal dirges and subtle hiss-inclinedness. No doubt, it could be thought or illustrated out in other ways also, speaking out the very pictures-evoking soundscapes, or even a new kind of metaphysics (no contradictions between the sounds being contrasted up against the history of human thought and word). It also does sound as a pessimistic approach not being ready yet and probably never to believe in the positivism of technical progressions which is felt into a bumpy nightmare being paralyzed by remote breathes and oncoming steps of malignant robots ready to march on to have a part of destroying the human being as a species for tomorrow. The music of this kind with ambient drone feeling bound up with a pessimistic emotive declination I am used to tag it as "dystopbient".

Listen to it here

9.5

[Old but important] Eukariota Animalia (Fariscal)

Someone Nicolàs B, In Buenos Aires living 26 years old musician, who is recording at home with a guitar, bass, some keyboards, 4-track tape recorder, and a precarious recording technique, making really genuine stuff on his own. Indeed, the way how subtle and lush guitar sounds do shimmer around invisible axis or are arranged to throw hooks here and there, which are sometimes introduced or followed by brown noise-covered short segments or spoken word samples, are made up by the position of a genius. Regarding his guitar works and some experimentation with noise, considering also crossovered lines, he does show up his closeness to Jim O`Rourke; or the monotonic synth lines find out the way up to early Stereolab`s aesthetics. Animalia was his debut release (2007) followed by Un Dia Luminoso (2010). The maximal result with minimal instrumentation.

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Stubborn Tiny Lights VS Clustering Darkness Forever OK The Infinite Regress (Futurerecordings)

The Californian label Futurerecordings does seem like the valley of plenty for music adorers, containing a lot of undiscovered frontiers of pop music, from really deep and sensible ambient music up to astonishing rock conceptions. If you are up there already to start think about post-rock as some kind of fucked-up misunderstanding, I recommend to listen to such bands like Sunlight Ascending, or Stubborn Tiny Lights vs Clustering Darkness Forever OK?

The last named band, a septet, comes from Cedar Falls, Iowa, starting their debut album at an invisible point and ending at a point wrapped up by silence (silence as invisible conversation). However, inbetween it takes course over the rocks, plateaus, and valleys, offering massive guitar riffs, and some lonely piano chords, and subtle symphonic progressions are entered into here to get reached up for epic melancholy and beauty crossing the borders of each other and blending into a whole. The septet`s sound is full of any kind of key and chord changes, for instance, the experiments with emotionally abrasive male vocals do offer some reminiscence of the like of A Silver Mt. Zion, and some march rhythm passages and pitched vocal orchestrations lead up to the Montrèal`s main post-rock icon itself yet. Some people have suggested The Infinite Regress for to be the best candidate for the post rock album of 2010. Indeed, it may be going out in that way. Amazing music.

Listen to it here

9.8