Camper Van Beethoven – 2016-01-29 - 40 Watt Club (2016)

Archive.org

• Americana 
• Alt-country 
• Psychedelic rock 
• Blues rock 
• Indie rock 
• Alternative rock 
• Ska 
• Live recording 
• Southern rock 
• World music

Comment: this is not the first live recording and hopefully not the last one at 40 Watt Club in Athens, Georgia, USA by Camper Van Beethoven you could find out at Archive.org. It can be assumed it is one of the combo’s favourite places to disseminate their legacy. The legendary quartet is there to convey a frantic session of 19 pieces with a grand total time of 64 minutes drawing upon southern rock, Americana, ska, blues, bluegrass, psychedelia, and alternative country. All these stylistic elements are seamlessly intertwined with one another and at the same time one element is traded for another to be appeared as if an effect of hocus-pocus or a hidden sort of music of the Romani and Jewish people. David Lowery`s vocal appearance is simply mesmerizing and that could be said about Jonathan Segel`s virtuosity to straddle on a keyboard and violin almost simultaneously. Just shut up and let the music take over. This is a bewildering hour by seminal masters. Absolutely brilliant!  

Animal Collective – Live at Irving Plaza (2016)

Nyctaper

• Freak folk 
• New Weird America 
• Free folk 
• Post-psychedelic electronica 
• Live recording 
• Experimental pop 
• Art pop 
• Weird folk 

Comment: Animal Collective's gigs used to be energetic and burbly ones, which are available at Archive.org and the same words could as said about the recent, 15-track issue. The Baltimore, US-based quartet issued brand new album Painting With in the beginning of the year on Domino, which seems to sound polyrhythmically and being galvanised with vowel effects to conjure up psychedelic sensations as much as I was able to hear from this gig. Something very special could not be found from except FloriDada. Business as usual I would dear to say because AC seems to have reached its aesthetical limits. Of course, since Merriweather Post Pavilion AC changed its direction to be more electronic and dance appealed rather than New Weird-oriented as their previous albums used to be. So one could admit AC did not invent something new and I do not feel myself psyched at all to get the new one. Indeed, much has changed around them and us and it is hardly exciting to expect truly refreshing breezes from there, as it was actually reasonable 7-16 years ago. However, the recent gig consists of old and new compositions and fortunately the combo has found a proper balance between them. By the way, the live started off with Alvin Row, and Bees and the session involves the favourite track of mine by Animal Collective, Loch Raven. Insofar as AC is not planning to revisit Estonia I shall have to regret that I did not attend their live at Lillepaviljon 10 years ago.

Kria Brekkan – 2008-09-16 Lutheran Church (2008)

Nyctaper

• New Weird Iceland 
• Avant-pop 
• Abstract, 
• Dream pop 
• Live session 
• Post-pop
• Singer-songwriter 
• Experimental pop
• Art pop
• Folktronica

Comment: Kristín Anna Valtýsdóttir aka Kria Brekkan was previously known as a member of Icelandic combo Mùm of which first albums Yesterday Was Dramatic – Today Is OK (2000, Morr Music) and Finally We Are No One (2002, FatCat) are pure gold to listen for sure - it is a hypnotic blend of folk, electronic/glitch music and post-rock. These two ones are the issues showing no sign of aging even today. So get these albums for yourselves immediately if you do not have it yet. Roughly one year before this gig Kria Brekkan and her then-husband Dave Portner aka Avey Tare (Animal Collective) released an issue called Pullhair Rubeye on Paw Tracks for which they composed music to turn it upside down therefore. This time Kria does not get involved in such sort of capers. The result is a fairy-alike one in which one could hear her to chirp as if it were channelized through the mist being conjured up either by glass celesta or watery harmonium. At times one could track down more dynamic and cinematic bridges on the austere chords to create something astonishing and staggering. In a word, this session of a half hour is a truly interesting listening span.

Yo La Tengo – 2015-10-10 Kings Theatre (2015)

Nyctaper

• Indie pop/rock
• Alternative pop/rock
• Slowcore
• Covers
• Americana
• Sadcore
• Live session

Comment: by listening to this 24-track live gig by legendary Hoboken, US-based indie purveyors Yo La Tengo I would like to share some moments which emerge from their conception and music. Firstly, YLT is a thoroughly American combo which used to play principally country music though with a different, introverted posture. They are indie nerds who not dare to present their music loudly. However, it seems to be the protective pose of theirs which eventually contributes to their idiosyncratic image. Of course, these words could only be said about their live sessions which are absent with studio trickery and synthesised and psychedelic sound creation. Secondly, they prove again to be champions of the cover songs. There they convey their own versions of songs by the likes of The Cure, Minutemen, Lovin` Spoonful, Gene Clark, Special Pillow, The Scene Is Now, and Cat Stevens. In a word, their session is highly relaxing and enjoyable.

Sigur Ros - June 16, 2008 Grand Ballroom (2008)

Nyctaper

• Post-rock
• Ambient rock
• Art rock
• Epic
• Alternative rock
• Indie rock
• Dream pop
• Live recording

Comment: I switched on my magnetophone and USB device to play this previously highly acclaimed gig and to convey a presumably magnificient ambiance for the evening of today. In fact, the Icelandic juggernaut within indie and post-rock realm who were joined by their friends and compatriots Amiina and a section of horn from Iceland for this time would have made something absolutely otherwise - they occupied the room around me, altered my consciousness to enchanting one to feel myself more relaxed and calmed down. At their heydays I was not the biggest fan of the combo`s music by feeling they were a little bit overrated because of their (faux-)mystical yet quite boring aesthetic. I then rather preferred to listen to such combos as Godspeed You! Black Emperor, Stereolab, and Tortoise, for instance. By listening to their gig at Grand Ballroom by now all seems to be changing deeply inside me. It starts off with the combo`s classic Svefn-g-Englar which makes out very well  for me. The issue goes on with some other classic tracks thereafter. It might be their music rings out even greater while being performed live. Jònsi`s singing is enchanting in the middle of melting organ drones and pummeling drums cascades and guitar chords over the place. Somthing of this kind needs no words to impose upon you. Get it and enjoy it!

Shearwater 2016-02-06 Mercury Lounge NYC (2016)

Nyctaper

• Indie rock/pop
• Alternative pop/rock
• Art rock
• Live
• Experimental rock
• Americana
• Psychedelic rock
• Cover

Comment: Shearwater performed this gig on the sixth of February, 2016 at Mercury Lounge NYC which was virtually a promotion act of Jonathan Meiburg-led combo`s brand new one Jet Plane and Oxbow having embraced obvious hints at adverse side effects on nature by the human being`s activity. Indeed, I like the musicians who have been having both responsibility and courage to spit it out despite the so-called political correctness superimposed by some politicians and businessmen with purpose to cover up their own slippery decisions and activities. Musically it is an organic shift between alternative/indie pop/rock, Americana and art rock with some hints toward ambient/drone/electronic music. Of course, Jonathan Meiburg`s sorrowful singing style is a main component within the ensemble`s music and also throughout the gig. The most experimental new song is obviously Stray Light at Clouds Hill where the last mentioned elements are neatly represented for. Additionally, there are represented three compositions from the band`s previous albums and a cover of David Bowie`s Look Back In Anger. Very good. 

Tortoise - 1992-04-13 - Lounge Ax (1992)

Archive.org

• Post-rock
• Progressive rock
• Electronic music
• Improvised music
• Live session
• Experimental rock

Comment: firstly, I did not like Tortoise`s last issue The Catastrophist (Thrill Jockey) because I felt as if the legendary Chicago, Illinois, US-based combo had tried to reinvent a new formula of pop music while having no enough faith in it. The result was quite sleazy and superficial. On the other side, I have no hesitation to show up their legacy to be one of the greatest among the indie and post-rock scene during the last three decades. Furthermore, John McEntire, the vibraphone player, keyboardist and drummer and producer of the combo has contributed at many fascinating albums with regard to Stereolab, Yo La Tengo, Bright Eyes, Radian, Jaga Jazzist if to name some of those ones. This 9-track gig at Lounge Ax was obviously one of their first performances whereas having issued no albums so far. Many compositions which appeared here were added to their first eponymous issue. Although Tortoise`s music is being generally tagged as “post-rock” if to dissect it this consists mainly of progressive rock, electronica, dub, krautrock, minimalism, and concrete sounds. Indeed, the combo has exploited elements of the aforesaid styles in different combinations throughout 24 years. It could be said this 41-minute issue is one of such sort of although it might sound a little bit clumsy because obviously having had no enough experience yet to interplay with each other in a more fast and cohesive manner. By regarding the Tortoise`s narrative to prefer instrumental compositions it is surprising enough to discover a track with vocal delivery called Lonesome Sound. It is disturbing that one could hear chitchatting while the combo is playing. The set is ended up by Ry Cooder, one of the most well-known compositions by Tortoise.

Mogwai – Showbox at the Market 2011-05-07 (2011)

Archive.org

/Post-rock, Doom rock, Art rock, Epic, Noise rock, Post-metal, Drone rock/

Comment: for me Mogwai`s best album by far is Come On To Die Young (1999) though the first and third and fourth release are fine ones either. Later on, I have avoided to hear their albums because of being a little disappointed by lacking new ideas and catchy elements within the Scottish band`s core. I also guess the live performances used to sound better than their later releases. At least this 16-track issue did it in Seattle exactly four years ago. The gig was properly laid down because of being varicoloured and filled with different sounds and magic noises. Their well-known epic and bold progressions on guitars and thumping drums are interspersed with brainsick noises and empowered drones from feedback and keyboards to impend doomed days for human kind. Of course, there are some exceptions as well – for instance, Mexican Grand Prix which rocks socks off like an early Stereolab of conflating the psychedelic elements of krautrock and Farfisa driven acid/drone rock impulses. There are also some woodwind based catchy melody progressions glimpses. Gorgeous show indeed.   

Stereolab – October 2, 2008 Irving Plaza (2008)

Nyctaper

/Krautrock, French disco, Krautrock, Art pop, Live session, Electronic, Psychedelic pop, Easy listening, Indietronica/

Comment: Stereolab was undoubtedly one of the most important indie combos in the 90s along with My Bloody Valentine, Slowdive, Lycia, Mercury Rev, Labradford and Tortoise. Their sound was a mix of shoegaze, Krautrock, art pop, indietronica, French disco, and psychedelic pop. Fortunately the Sadier-Gane led combo albums would not bear clear-cut elements from their Marxist principles whose representation would have been a simply ridiculous, populist bullshit just to show off for nobody. I guess that the die-hard anarchist would despise the genocidal tendencies so characteristic to communism throughout the history. This set involves 19 tracks and the result is a vivid kraut jamming saturated with bitty nylon bass strings, psychedelic Farfisa organ and Moog synthesiser sounds and Neu! inspired motorik beats. It is a great live session by the great group indeed.            

Sunburned Hand of the Man - Three Lobed/WXDU Day Show, Hopscotch Music Festival, King's, Raleigh, NC (2014)

Nyctaper

/New Weird America, Live session, Drone rock, Krautrock, Space rock, Avant-rock, Psychedelic rock, Experimental rock, Improvised music/

Comment: it is a great, 27-minute live session by the cult Massachusetts combo Sunburned Hand of the Man whose music reflects upon the interplay between noise and silence, between “natural” instrumentation and processed electronic sounds. It is a perfect sort of relaxation music due to outstretched droning, spaced-out guitar drenched trajectories, motorik rhythm engines and delayed crescendos and resigned incantations made up by Greta Svalberg. The result is a spellbinding trip through sonic magic. In addition to it I recommend listen to the likes of Vibracathedral Orchestra, Natural Snow Buildings, Ashtray Navigations, Kemialliset Ystävät, and Children Of The Drone.                

Björk - Live @ Great Hall Of Science, Queens, New York, USA, NY (02-12-2012)

Nyctaper

Björk

/Electronic pop, Art pop, Singer-songwriter, Avant-folk, Live session, Art folk/

Comment: Icelandic diva Björk`s gig includes 19 tracks, most of them are taken from the album Biophilia (2011) which was produced by exploiting more or less conventional instruments (tablet computer, using a system of applications, Tesla coil, harp, sharpsicord). Although there were performed some of her most known compositions (Hyperballad, You`ve Been Flirting Again) most ones were related to her late period issues. The stylistic range was wide – extending from grandiose electronic pop to more harp-driven, Borealis-sheeny folk progressions. As we already have figured out Björk is an event irrespective of how she is involved in. Listen to it and let it to overwhelm you.  

The Vaselines: Live at Primavera Sound Festival 5/28/2009 (2009)

Free Music Archive

9.0

/Jangle pop, Alternative pop/rock, Indie pop, Twee pop/

Comment: The Vaselines is a Scottish duo consisting of Eugene Kelly and Frances McKee firstly being surfaced in 80s (1986-1990) as part of then twee/jangle pop scene. Quite paradoxically, they got some fame as one of the favorite bands by all our beloved Kurt Cobain (by the way, Nirvana covered three of their songs). This gig was recorded at the famous Primavera festival including their best songs represented over here (Molly`s Lips; Jesus Does Not Want Me A Sunbeam; Slushy; Sex Sux, You Think You`re A Man; Oliver Twisted etc). Honestly, I have long awaited for the revival of those seemingly simple yet catchy infiltrated guitar strums and joyous even groovy drum patterns of 80`s guitar bands. This is a honest example of indie`n`roll.

[Concert] Low Live at Eindhoven (Low)

The legendary, Duluth-based slowcore trio Low (Alan Sparhawk, Mimi Parker, Steve Garrington) known by its mesmerizingly creeping soundscape has issued a 4-track live release being shot at St. Catherina Cathedral in Eindhoven on January of 22, 2009, joined by lots of local guest musicians and instruments - a full, 5-piece choir, analog synth, Hammond organ, piano, and vibraphone. The gig included such tracks as Monkey, Silver Rider, July, Laser Beam. So the two tracks taken from the Things We Lost In Fire (2001, Kranky) and the another two from Great Destroyer (2005, Sub Pop), respectively. As they introduced yourselves in as a new approach in the North America-based indie scene approximately 2 decades ago their power is lost nowhere to date - the gig is suggestively slow and blissfully hypnotic, reminiscent of the milieu of silent time at the end of a year being closely related to the forthcoming Christmas time and lots of huge snowdrifts. So let`s enjoy it and waiting for the trio`s brand new heavy C`mon.

Listen to it here

[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

[Old but important] Children Of The Drone Compilation no. 8 (COTD)

In fact, the Exeter-based musical group of 10-20 members should be a legendary one, not only having some cult reputation among dedicated music lovers. COTD is through its line-up closely related to the other collectives and projects as well (for instance, A Tiny Window; Ail Fionn; Dongas The Tribe). Their soundscape is involved in hypnotic jam sessions, impressive pictures of art-y folk music, having the closeness to natural and organic soundscape and depthness inbetween and beyond the layers, playing up a lot of meditative psychedelic circuits, thereby constituting up as powerful uniqueness and intelligent variety finally. The array of Exetrians` instruments is similarly impressive one, including the music-oriented instruments, and artifacts as well. However, if you take some time to getting enjoyed them you shall have to reserve a couple of hours, because the most of sessions are up there into this tendency. And the UK-based collective is not limited to the sound conception only - I strongly recommend to you to visit their site and read their argumented views about many phenomena and manifestations (including music business). Let`s them speak and you'll definitely get some (self-) reflection.

Unlike the most of their experiments these are not usually filled in very surreal, darksided feedbacks and echo effects which by the side are injected with gorgeous mystical attitude. But it is the case of Compilation 8. You can meet some free form improvisations, electro-acoustic ambiences, and psychedelic sonic conceptions. And indeed, over a long period some low-end (and shamelessly undervalued) electronic keyboards and electronics/sampling units have been exploited. If Kemialliset Ystävät`s frontman Jan Anderzèn expressed once devout hope that his music would be in certain way to be related to the outer space having its very goal in this way while it can be said that obviously by Matthew Watkins` curated band sounds into the universe for sure. A seemingly simple journey on the one hand, it expresses a static (or in a minimal way sounding) sonic trance on the other hand, within the borders of the high-level articulatedness the progressions of sonic algorithms are getting even more visible with coming to the end. In fact, it does not create any kind of tensions or frictions while flowing into transcendental meditations. In a more concrete way, through comparisons, here is a link of kinship with Six Organs Of Admittance, and Spiritualized to be found, although, in a much deeper embodiment. An astonishingly deep stuff.

Listen to it here

[Kontserdid] Animal Collective Live at The Coronet Theatre on 2007-07-11 (Archive.org)

Animal Collective elik ennekõike Avey Tare & Panda Bear oli ilmselt eelmise kümnendi üks olulisemaid kui mitte olulisim (võib lugeda: mõjukaim) punt. Nad alustasid veel sellal, kui maailm oli milleeniumivahetuse-võimaliku apokalüpsise(ihaluse) painete järelmõjudest üle saamas ning otsis uues situatsioonis uusi kumiire. Animal Collective`ist sai keskne heeros, seesugune bänd, kes paistis silma innovaatilise helipildiga, jäädes seejuures äärmiselt ekstravertseks, emotsionaalseks ning ekstaatiliseks. Animal Collective sobis kokku nii juuriajava uue laine lo-fi/DIY-liikumise kui New Weird America`ga, kuulumata seejures tegelikult mõlemasse - võib tagantjärele nentida. Teisalt bände ja muusikuid, kes laulsid seesuguses maneeris nagu Panda Bear, kerkis nagu seeni pärast vihma (andke mulle andeks klišeelikkus). Ennekuulmatu trillerdamine, mis ristas vana ja uut, kõlades kui Ameerika (liba)unistus, ei saanudki jääda kultusbändi staatusesse. 2009. aasta ning album "Post-Merriweather Pavillion" (Domino) oli nende lõpliku läbimurde aasta laiemate masside teadvusse, edetabelitesse ning prime time-eetritesse. Ning kuigi siinkirjutajale nimetatud reliis üldse ei sümpatiseeri, on mul hea meel nende edu üle (nende panus on vähemalt väärikalt pärjatud).

Kindel see, et "Loomakollektiivi" parimate reliiside (kas esi-või tagaotsa albumid) üle võib vaielda, samas võib üldistada, et laivbändina on nad eranditult meistriklass (midagi seesugust, mida võiks The Spiritualized`i ja Mono kompromissitu tasemega kõrvutada). Üheks seesuguseks näiteks on 20-st loost koosnev gig Coronet Theatre`is Londonis 2007. aastal (mõned päevad rohkem kui aasta pärast nende esinemist Lillepaviljonis Tallinnas). Luupiv helipilt, elektrooniline kosmos (elektroonilisem kui plaatidel), laotuv, lainetav ning ruumi täitev psühhedeelia, Panda Bear`i laiuv ning kaikuv vokaal ja vokaliis. (Taaskord võib hämmelduda laulja vokaaldiapasooni ja ülikiire kehastumisvõime üle - nt loos Brother Sport on kõrvuti joodeldamine, gospel-ihalus, nõelavad karjatused ning midagi veel lisaks. Ka vaibumisele on siin ruumi jäetud - kuid üksnes selleks, et uuesti välja purskuda ning ekstaasil paremini paista lasta. Ka lemmiklugu Loch Raven on esindatud - veel üks tubrik nende kontole.

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Dave Tucker, Ricardo Tejero, Julian Bonequi Machinations of Joy (Audiotalaia)

David Tucker - kitarr ja elektroonika; Ricardo Tejero - saksofon ja klarnet; Julian Bonequi - trummid, vokaal ja elektroonika. Kolm staažikat ja tunnustatud muusikut, kelledest tuntuim on ilmselt Tucker, kes kuulunud klarnetimängijana 80ndate alul Manchester`i kultusbändi The Fall koosseisu (minialbum "The Slates" ning ülesastumised laividel).

Turmlevad vabas vormis improvisatsioonid, elektroonilised manipulatsioonid, vaiksemad ja maalilised jazz-numbrid/downbeat-sahinad. Nimilugu on meistriklass - sulnis intro kasvab väga ruttu üle free jazz`iks - kriipivaks, torkivaks ja trummeldavaks -, mida taamal toetab massiivne tume helisein. Kunagi ühes intervjuus Bobby Gillespie Primal Scream´ist rääkis Miles Davis`est kui punkmuusikust. Ning tal oli kuradima õigus - no kurat võtaks, mida muud veel see Miles`i muusika oli ja nimilugu ning album tervikuna on?! Kuigi trompet käesoleval albumil puudub, ei saa Miles`ist üle ega ümber. Eriti vaiksematel hetkedel, mis toob meelde ja meeltesse jazz-legendi koostöö Gil Evans`iga 60ndate lõpul. You Need This on järjekordne näide trio suurepärasest kokkumängust, kusjuures enim avaldab mõju kihtide "salakaval" nihestamine üksteise suhtes, kontrapunktid, progressioon ning dünaamilisus. Elektroonilised efektid on läbitöödeldud, eksaktselt suunatud - ei teki kordagi muljet sellest, nagu oleks see kuidagi täiteks seatud. Ning kui palju on ikka jazz-muusikat, seesugust, mida toestataks feedback`iga. Konstruktiivne kaootilisus.

Siinkirjutajale meenub, et kui Vaiko Eplik oma kaaskonnaga hakkas tegema ansamblit Koer, siis ta rääkis uuest projektist kui punkmuusikast jazz-meetodil (või oli see vastupidi). Enivei, reaalset katet tema jutul ei olnud - küllap see oligi keel õieli mõeldud -, seevastu siin see skeem töötab ideaalselt. Teiseks - The Fall vajaks hetkel hädasti Tucker`it (ning Scanlon`it ja Hanley`d), iseasi muidugi, kas Mark E Smith teda (neid) vajab. Kolmandaks - kas maailmas on veel seesuguseid teravaid ning piire mittetunnistavaid improkollektiive? Kindlasti soovitan kuulata Les Dix-Huit Secondes`it.

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9.8

[Vana ning oluline] Children Of The Drone Compilation no. 8 (COTD)

Exeter`is baseeruva ning reeglina 10-20 liikmest koosneva rühmituse (kuigi koosseis ei pärine üksnes Uduselt Albionilt) ning sellega tihedalt seotud kollektiivide (nt A Tiny Window, Ail Fionn, The Dongas Tribe) kogumikud peaksid ideaalis legendaarsed olema. Hüpnootilised jämmid, impressiivsed folkkujutluspildid, looduslähedane aura, kihiline ja kihtidevaheline sügavus, psühhedeelsus ning ka kordumatus. Intelligentne mitmekesisus. Ning võimas pillipark - kuhu kuuluvad nii pärisinstrumendid kui artefaktid - loomulikult. Varuge nende nautimiseks aega - kogumike pikkused ulatuvad sageli paari tunnini. Kui mul vahetevahel saab kirjust popmuusikalisest situatsioonist villand, panen mõtete puhastamiseks just COTD-i peale. Ning nimetet kollektiiv ei piirdu üksnes helilise poolega - soojalt soovitan külastada nende kodulehekülge ning nende ratsionaalseid, erudeeritud ja argumenteeritud seisukohti paljude fenomenide ja ilmingute (sh muusikaäri) kohta siin ilmas. Uurige ning saate kindlasti targemaks.

Erinevalt enamikust kompilatsioonidest eksperimenteeritakse käesoleval vokaaliga-sürreaalsete häälutustega, sünkjad feedback-pannood ja kajaefektid lisavad tervikule müstilist nimbust. Siin on märksa enam nurgelist vabas vormis improvisatsiooni, elektroakustilist puru, psühhedeelset ja ruumilist-kosmilist helikudet ja kontseptsiooni. Ning tõepoolest, üle pika aja kasutatakse taas elektroonilisi klahvpille, sämplereid ja elektroonikat. Kui Kemialliset Ystävät`i liider Jan Anderzèn avaldas lootust, et tema muusika võiks mingil moel ilmaruumiga ühilduda, seda representeerida, siis 40-aastase Matthew Watkins`i poolt (rohkem või vähem tinglikult) kureeritava ansambli heliuniversumi kohta võib seda kindlasti väita. Näiliselt lihtne, kuigi tegelikkuses põhjalikult artikuleeritud muusika. Ühelt poolt rõhutatult staatiline (või minimalistlik), teisalt progressiooni algoritmidele allutatud. Ning see ei tekita hetkekski negatiivset pingestatust või hõõrdumist. Transtsendentaalsed meditatsioonid. Siin on sugulust nii Spiritualized`i kui Six Organs Of Admittance`iga, samas märksa sügavamatele retkedele suundudes. Väga diip.

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[Kogumik] ULQUTUSHUY volumen1 (Los Emes Del Oso)

Prantsuskeelne label Los Emes Del Oso lükkab tänuväärset üritust, reliisides erinäoliste artistide sekka eksootilisi maailmamuusika mõjudega helisid. Konkreetsemalt ketšuakeelset muusikat, helisid Peruust ja Boliiviast - kui ketšuate ehk endise Maia (Inka) impeeriumi järeltulijate põhialalt (lisaks elab neid suuremate gruppidena veel Tšiilis, Kolumbias ja Argentiinas). Justament, maailmamuusika mõjudega üllitisi, kuivõrd nimetet 15-looline kompilatsioon kätkeb eneses ohtralt improvisatsioonilisi, psühhedeelseid ning teisigi tänapäevaga seostatavaid hetki. Nimelt minu kui läänemaailma inimolendi ettekujutusse on sööbinud pilt pärimusmuusikat kui millestki ontlikust, autentsust säilitada püüdvast või seda restaureerivast (mitte dekonstrueerivast) muusikast. Tõepoolest, flöödimuusika improd, puhkpillide ja trummide saatel free jazz`ile lähenevad momentumid, emotsionaalsete raadioonude vaimus lugudele pealelugemised annavad ketšuade muusikale kaasaegse mõõtme, olemata seejuures kuidagi ära lörtsitud. (Rääkides veel psühhedeelsest kogemusest, on väga usutav, et Lõuna-Ameerika põliselanikele oli see ilmselt kauem tuntud kui valgele inimesele). Teisalt, sellelt kogumikult võib leida ka viiulipartiisid, millel on palju sarnasusi keldi folgiga. Lood on talletatud festaritelt ja karnevalidelt ning räägivad nende müstilistest jumalatest, armastusest ning värdjalikest konkistadooridest. Kaunis ning rikastav kogemus (kuulamis)rutiini hajutamiseks.

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[Vana ning oluline] 1g0g Ice Cube (Haze)

Laivesinemine, helikunst, ämbientmuusika ja sünkja drone`i segu, konkreethelid, spoken word, sosinad ja palju muud. Ja nii edasi ja nii edasi. Autoriks 1g0g ehk Gosha Solntsev, kes muuseas kuulub kultuslikku helikunstirühmitusse Noises Of Russia, ning teos on esitatud kui helind butõ-teatri etendusele Anikušini skulptuuristuudios Sankt-Peterburgis 2008. aastal. Peaaegu 54-minutiline teos, mis nõuab keskendumist, kuivõrd progressioonis peitub tegelikult selle teose tuum. Üleminekud on sageli pikad ning seetõttu raskesti märgatavad. (Nagu slaidid või kaadrid, mis märkamatult vahetuvad). Sugestiivseimad hetked täidavad viimast kümmet minutit, mil sulpsatuste taamal kõlab soomekeelne hällilaul. Taies algab eikusagilt, kasvab ning areneb kirikukellade kõminaks ning minimalistlikuks tininaks (meenutades teelusika heli tassis), kuhu hakkavad tasapisi lisanduma sõlmhelid, monotoonne trummeldamine ning abrasiivne helikude. Ning sealt edasi tulevad uued helid ning elemendid, omandades läbi filtrite uusi varjundeid. Keskmises osas äratab tähelepanu soomekeelne jutlus, mille taamal luubivad sitarid. Seejärel kuni hällilaulu alguseni täidavad vahemikku tumedakõlaline ambient drone ning kirikulaulu kaja ja pomin. Tõsi, kõik see kulgeb algusest lõpuni vaikelulises võtmes. Tajusin ka seda, et soomlaste metsafolgil on käesoleva teosega väga palju ühist.

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