AnalogNoiseMaster The Aural Enthusiast (Parafago)

AnalogNoiseMaster`s aesthetics and ideology seems overtly to hark back to those days when full-electronic scoped krautrockers kicked off proceedings on repetitive sonic patterns and developments of their inner spaces in the mid of 70`s, for instance, if to come over to the workouts by Conrad Schnitzler and Cluster. The 9-track set is relied mainly upon propulsive and abrasive sounds, sometimes lopsided by having subtle swayings from one channel to another or sheer proto-industrial/old school industrial music alchemical experiments or producing slightly dream-alike fabric layers above those hard cored lookouts. Beside krautrock it can be considered minimal music as well, more detailly, if to consider the austere supplements of analogue/modular synth-based whimsical chords and overthrows. At times it will be exploded into noise-infused rhythms and brown noise-backed examples (noise techno?!). For sure, the ANM`s recent brainchild is ebullient, playful, and fruitful, all in all, full of aural fun. Check it out the other issues under Parafago Records as well, however, this Italian label has developed into one of the most solid experimental music records nowadays already.

Listen to it here

9.5

[Artists] v4w.enko

SND from V4W.ENKO on Vimeo.

HARMONIC RATIO: Statement1___03 from V4W.ENKO on Vimeo.

focus-reboot from V4W.ENKO on Vimeo.

v4w.enko
v4w.enko
Justnotnormal
Entity
Digitalbiotope
Vacu Sessions
Kvitnu
Myspace
Lastfm

[Artists] Mohave Triangles

Mohave Triangles/Bandcamp
Digitalis Limited Editions
Myspace
Lastfm

Bosques de mi Mente Otoño (Clinical Archives/CRLM Office)

The Spanish artist Bosques de mi Mente (translated as Forests of my mind) is being one of those one-man projects having got huge response under Clinical Archives, CRLM Office, and Jamendo. Since 2007, as a "home artist" therein, he has released 5 albums to date. His music is spotted mainly upon the piano-based modern classic backbone, fringed at times by strong found sound and post-rock influences.

Otoño is a record with the longitude of more than 100 minutes of 27 tracks relied entirely upon live improvisations, recorded during 6 days of the fall of 2010. Aside the silence as impossible conversation (as it was sung by Malcolm Mooney of CAN by-and-by) there are intimate yet affective, mainly minor piano chords, spoken word snippets and wide-range samples (from baby babbles and adult people clashes to elderly individuals` memories), musique concrete-drenched flickers and some violins by Sergio Trujillo, all in all filling in your listening times with the restraint sense and playing up the sparse environment over you, thereby offering a sole realm for thinking of your thoughts and planning your future deeds. Of course, some more radical turns and dodges are up here to be driven into huge impact (Berceuse Macabre) All is rolling on in a silent and minimal way, indeed. It might not be Bosques` best notch but a very solid one nevertheless.

Listen to it here

8.8

Th.en.d Metaphors EP (Mixgalaxy)

The Berlin-based Norman Dauskardt aka Th.en.d has released two EPs to date. His first, the 3-track issue Schizophrenic Birth (2009, Acustronica) was composed in a seemingly loose way, yet, regarding some aesthetical intentions and sonic feats, it can be admitted now, those aspects of the sonority foresaw the future upon the next release(s). Beside overwhelming, lazy downtempo milieus, or more punctually, below the lustrous play of colours the motorik rhythms are pretending for the dominating position to be overtaken sometime. Moreover, though The Beatles and The Doors are referred as Dauskardt`s main influences, the krautrock-ish angle is the most evident characteristic on the new record. In any cases, it is not possible that a decent German-based experimental musician could somehow have had no idea about the glorious tradition and continuity of the Teutonic experimental rock scene. Buzz-injected, heavy-weighted in a psychedelic way, symphonic-inflected synth chords, austere yet dynamic metronome-drowned beats do play up a solid whole, first of all, reminding the doings of NEU!, and the soundscape of recent compatriots by the likes of Mina, Cidulator, Isolèe, and Lali Puna as well. If you wish call it as neokrautrock, or call it as post-disco, however, it is quite impossible to resist against the kind of mesmerizing, determined rhythm-based magic sound.

Listen to it here

9.3

Raw Moans + LAY BAC beko_70 (Beko DSL)

There is a fine joint release by LAC BAC and Raw Moans, the kind of one-man-bands, coming from Austin and San Diego, USA, respectively. More detailly, two tracks by both sides, used to be quite similar to each other, however, it can be drawn the gap between them. Raw Moans is up here, to reflect upon minimal, dreamy floating, though, doing it that way which will show up the devoid or at least restraint of his feelings. It is mainly a blend of hazy monotonic chord array and loose motorik rhythms. LAC BAC does play up disco house-drenched, heavy-filtered bedroom visions similar to Ariel Pink`s early doings, on the other side, the second track Ralf Goes Out is based upon a highly down-pitched cadence to offer the platform for Jsef Calamusa`s murky voice to be appeared everywhere.

All in all, it might be seemed as a following example riding on the chillwave and witch house hype, yet, undoubtedly it is a split masterfully composed and played out.

Listen to it here

9.0

Sturqen Radio Inoculation (Vacu Sessions)

Vacu Sessions is a sound art/sound design environment/community/label/blog, offering gently live sessions, mix sets, and uncommon DJ-gigs. Obviously it is located in Finland somewhere. Their slogan is as clear as the following one: heavy or light, new and old, predictable or totally unknown: the important here is the dynamic of the music. A continuous exploration of sound.

Here is a track from Sturqen, called Radio Inoculation, specially recorded for RadiaLx 2010, an International Radio Art Festival. With the longitude of 27.58 it seems to be an endless journey via sound exploration and observant knob-twiddling manipulation. Actually Radio Inoculation do tallow our visions and preconceptions about sound art as a kind of. Undoubtedly Sturqen`s conception is rigid, minimal and doggedly insensitive. Imperative even malicious signals, digital crackling of brown noise, throbbing monotonous drone lines and spacious layers are the agents up here presenting their very role to enact an intriguing conception between music and sound design, between a kind of music and non-. In fact, it does mean that there are even some little edges for warm feelings as well. What else can I add to for you - take your time and check it out for the more releases on Vacu Sessions. It is sometimes quite purposeful to listen to it for purifying of your mind.

Listen to it here

9.0

Oathless Standing Where Our Paths Shall Meet (Hawk Moon)

For sure, the British have been having a proud tradition of ambient music veered from the conceptions of Brian Eno and David Toop to the later and recent works by the Caretaker, Cousin Silas, Phillip Wilkerson and Simon Housley. Simon Housley is a young musician from Stoke-on-Tent having been releasing music since 2007. His first tracks were played out as spacey neofolk/chamber folk-drenched pieces, which soon evolved into a more melancholic space music approach, completed strongly with the ingredients of modern classical/symphonic progressions and dark ambient/dystopbient, and infused layers of musique concrete as well. Besides an array of singles, however, Housley has self-released three albums being as an obligatory task for every serious ambient music lover to be listened here and now. Those issues are Seen Through Reflection, Lambent Amber Winds, and Zephyr.

No doubt, his new release of 8 tracks continues to move along those aforementioned ambient characteristics. In principle, it is slow, minimal yet extensive, and hypnotic based upon the phase changing-alike methodology. Though it is an austere sonic example it does evoke a lot of emotions, for instance, extraditing the sense of still life, as if foretelling us about the forthcoming cold and snowy winter. In fact, the season is arrived exactly in such kind of embodiment and the emotion is mightily up here to be became much more dinstinct. Vis à vis with Housley`s previous releases it does seem to be a bit more solemn yet remaining its status as a somehow joyous oeuvre, though.

Listen to it here

9.1

[Artists] rngmnn

rngmnn
1798
Enoughrecords
Supersupersuper
Grundruck
Lastfm

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

[Compilation] Artificios 3 (Sincro)

The Argentinian label/experimental electronic music platform Sincro is back after for a while. It is their third compilation consisting of musicians coming from Argentina, Peru, and Spain (Catalonia). Asolaar, GUM, Ivliss, Juan Dub Silva, Mezzo, and Omar Lavalle are the names up there to get set up with an excellent smorgasboard of industrial/noise-infused repetitive cadences, the abstract abysses of noir-esque soundscapes, microtonal/monotonal manipulations, rough audio processing, and the blaze-framed pavements of pulsating glitchtronics. Although you can hear some similarities with the nihilistic approach of the 70/80`s industrial music, the borealic senseless of Pan Sonic, or the frightening neuroticness of Suicide, it is an universe regulated by its own rules. In fact, while it is an impressive compilation, you shall have to listen to its two precedessors as well.

Listen to it here

Ballpen The dreams trilogy (La bèl)

In recent years, among others, I am used to get deeply involved in music of some Italian labels having stylistically been offering different yet conceptually cutting-edge outputs. More specifically, every release under Barbie Noja, Chew-Z, Kill Mommy, Zymogen, and La bèl is an unexpected one and really worth to give a try. In fact, concerning specifically on in Italy residing projects I have discovered such ones like The Last Meredina, Nicola Ratti, con_cetta, Christian Alati, Barbagallo, The Japanese Gum, Menion, Elisa Luu, Difondo. By the side, speaking about the music from the Apennine Peninsula in a more general way, it would be a kind of crime not to mention the likes of Hox Vox, Ornitology, Les Dix-Huit Secondes, The reason is clear - because all of these aforementioned bands have put on their very own mentality to some Anglo-American influences. However, it seems so that there are two geographical peripheries in Europe which are really rich by their innovative music - Finland (their powerful avant-garde folk experimentations, so-called forest folk) and Italy. In the context, no chance to get over by Kraftwerk - Eleganz und Dekadenz Europa endlos

Actually the array will be completed with adding of Ballpen, the project of Alessandro Coronas, conjuring up really interesting and intimate dream-alike soundscapes. (And other billions of strange and funny combinations of the puzzle-pieces of my life - as he says himself) 11 tracks do search for their place and borders hovering between folk music, cowbell indie, sub-IDM beats, chamber music, dream pop, child music, even the classical approach of minimal, sometimes really minimal sonic palette (which is not suprising because of Coronas` conservatory-related background). Of course, the easiest way to chart the whole it would be tagged as "folktronic music", and indeed, this is correct on its own - at least partly. For example, fabulous tracks Anna Lisa goes to bed, and The magazine dream. On the other hand, all of those slowly progressing chamber music lines built up to half-evolved crescendos, intimate sonic insights and introspections, a lot of key changes, subtle minimal electronic and glitch-y ghosts-infused undercurrents are up for to eliminate stylistic walls around its concept and allowing to bring forth a lot of transcendental feelings for a subject. Listening to this I can remember (or it is remembered by) for some soul mates - Oscar Hallbert (Sweden), and Thuoom (Finland). Altogether, a great composition indeed.

Listen to it here

9.7

[Vana ning oluline] Deep Magic Balance (Deep Tapes)

Kalifornialane Alex Gray (ka tuntud ansamblist Dream Colour) on geenius. Mitte sellepärast, et ta suudab omi kassettalbumeid sold out`ini realiseerida, vaid tema helikeel tundub kordumatu peegeldusena (muusikute puhul usume, et nad lähevad transsi, pannes oma hingeseisundid albumitele). Kas märgilised viited kosmosele osutavad ameeriklase astraalkehastusele?

Tema debüütalbum "Balance" - reliisitud eelmisel aastal 20-minutilisel tape`il, koosnedes kahest 10-minutilisest träkist - peegeldab monumentaalset staatilisust, võimalike parameetrite ja taustsüsteemide hangumist, transtsendentset mõõdet ja ambitsiooni. Süntesaatorite soojakõlalised (pop)drone`id on vaheldumas mitte vähem sugestiivse kosmilise süntesaatorirütmika ja helklevate trillerdustega. Teises loos kaasnevad ka improvisatsioonilised elemendid, muutumata kuidagi jazz`iks. Meenutab pigem Tangerine Dream`i kaemuslikemaid ning transsi lukustunud hetki ("Rubicon", "Ricochet").

Kuula albumit siit

Les Marquises Beko_59 (Beko DSL)

2. novembril ilmub prantsuse-USA bändi Les Marquises`i debüütalbum "Lost Lost Lost" (Lost Recordings), mida siinkirjutaja korduvalt kuulanuna võib väga heaks hinnata.

Lyonlased Jean Sèbastien Nouveau ja Jonathan Grandcollot on osalenud vähetuntud indieaktides (Pan Pan Pan, Colo Colo, Immune, Robe Et Manteau), seevastu austinlane Jonathan Graiger on osaline tuntud americana-aktides nagu Shearwater (live-esinemistel), Minus Story ja Hospital Ships (sooloprojekt).

Ei ole kahtlustki, et Les Marquises`i muusikas kõneleb Shearwater`i õhuline kammerlikkus ja hillitsetus ning Hospital Ships`i staatilisus, samas välditakse vihjeid ameerikalikele muusikatraditsioonidele. Samuti Minus Story indie-plahvatuslikkus ei ole selle bändi implikatsioon. Foonina kumab läbi Beach House`i (teine prantsuse-USA kollaboratsioon!) poolt juurutatud minimeeritud popi kontseptsioon. Live-ülesvõttena salvestatud kolisevad trummid, Graiger`i palveks pitchitud kaeblik vokaal, elektrooniline noir, orelite sugestiivne drone ning hingekriipivad (ja pompöössed) orkestratsioonid teevad sellest imetabase reliisi (meenutab kohati Air`i "Moons Safari" aega ja ruumi ületavat ilu). Asi muutub seda üllatavamaks, kui selgub, et süntesaatoritest on salvestamiseks kasutatud üksnes väikese tootenumbriga klahvpille (Yamaha HandySound`i miniorel, Realistic Concermate-650 ning Casio SK-1). Mis veel - debüütalbum ei paku Volcano The Bear`i (Only Ghosts) ja Gareth Brown`i (Comme Nouns Brulons) suurepäraseid remikse ega alternatiivversiooni loost Only Ghosts. Omandage lisaks "Lost Lost Lost"-ile ka see.

Kuula albumit siit

9.6

Randoman Eon (Sublime Porte)

Okan Çoban aka Randoman`i aasta alul ilmunud (esimene päris)album trihvtib minimaalse ja vähemminimaalse helikoe peal, olles seejuures peitunud sügavale dub-kanjonisse (või dub-kosmosesse - kuidas ise soovite). Rangelt masinlikku joont hoidva ning emotsioonidest hoiduva instanbullase muusika on jagatud dub techno`ks, tech-house`iks (Saturated I), dubstep`iks (Saturated II) ning kosmiliseks helimaastikuks (Winter In Space (Sublime Porte Blueshift Remake) ). Kõik eelpoolnimetatud määratlused ei ole siiski stiilipuhtad, vaid üksteisest orgaanilisel viisil läbikasvanud taiesed. Autori kiituseks tuleb nentida, et tema helikeel ei jää kuivaks - maastikud on vürtsitatud industrial-jurakate, häälutussämplite, sündiefektide ning kahinate-sahinatega (vinüülplaadi krõbin, konkreethelid). Sügav, progressiivne, rütmimotoorne ja aegruumiline. Väärinuks kõrgemat hinnet, kui ei oleks olnud toda Undulation-it (verevaene ja sihitult liikuv träkk).

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8.3

Bmind Uncommon Things EP (Tranzmitter)

Jätkame muusikaga Brasiiliast. 23-aastase Jaime de Almeida Simões`i aka Bmind`i aasta alul ilmunud 3-looline (ning 35-minutiline) EP on siinkirjutajat juba pikemat aega irriteerinud kui üsna hoomamatu taies. Iga kuulamisega on üha enam ilmnenud, et see on prog-muusika tänapäevaste mallide järgi. Ei, mitte ses mõttes, nagu oleks sel stilistiliselt pistmist neoprogega, vaid see sätestab ise omad reeglid, olles tugevalt mõjutatud 70ndate aastate intellektuaalsest kitarrimuusikast (a la Adrian Smith, Randy Rhoads, Jake E Lee, David Gilmour). Kaks esimest, pikka - umbes 15-minutilist lugu - kätkevad elemente kesktempolikust trance`st/bubblegum techno`st, millesse on integreeritud keelpilli- ja etnotrummide sämplid, mulksuv psühhedeelne elektroonika, dub`ilik kaja ning loova produktsiooni ja tämbriga vokaliis pluss tõnupedarilik manifesteeriv mana (ah jaa, teises loos lööb kaasa leiblikaaslane Holocaos). Erinevad kihid on kenasti üheks sulatatud, üksteise suhtes nihkuma pandud, võimaldades sünergiavektoril esile liikuda. Emotiivses plaanis on helindid hillitsetud, pigem mängides vastaspooluse võimalikkusega. Lõpulugu (ühtlasi nimilugu) on akustiline, peegeldades noormehe kitarrioskusi - omandatud muusikakoolist nullindate alul -, sisenduslikku vokaalmaneeri ning portugalikeelse laulu kaunikõlalisust.

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8.6

ArnAck To mars (Breathe Compilations)

Liegè`i produtsentide Arnaud Rosoux` ja David Schreder`i (Dio2xide, Kingfisherg) 6-looline debüütreliis on täis seesugust helisegmenti, mis viib mõtted paljudesse suundadesse rändama. (Et reisimuusika, või mis? Marsile?). 34 minutit hõlmaval EP-l võib kuulda sulneid kosmilisi analoogkajasid, õrnalt lo-fi`likke kesktempos rütmistikke, IDM-külgnevusi (kaks viimatinimetatut kombineeruvad tugevalt omavahel) ning manuaalselt klahvkadega laotud bassisaunde (igasgune robustsus ning haavatavus helikeeles muudab kontseptsiooni orgaanilisemaks). Ning ka kosmilise kõlaga minimalismi ja poptolmu ühitavat süntesaatorieksperimentalistikat, mis oli omane 70ndate krautrockalkeemikutele (Elektriktus, Konrad Schnitzler) või siis mõnele 90ndate ja nullindate krautrockesindajale (To Rococo Rot, Kreidler, Tarwater). Teisisõnu, "To Mars" kulgeb sci-fi ja lo-fi vahepeale jäävat niiti mööda. Võtame näiteks Sorry, Dog!-i, mille rohmakalt pinda puutuvad rütmikäigud ei ole ülejäänud helipilti vahetult integreeritud, andes seeläbi kuulajale võimaluse oma ettekujutused ümber mõtestada. (Igasugune muusika, mille "portfoolios" ei sisaldu etteennustamise elemente, on tegelikult ekstraordinaarne). Dünaamiliselt ja (üleüldse sugestiivses tähenduses) on eeskujulikem näide The Mome Raths in my Studio. Väga hea EP.

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9.3

Alex Alexandroff Anxiety(Piano album) (Jamendo)

Ukraina artist Alex Alexandroff (tal on ka kõrvalprojekt Resistance) on viimase aasta jooksul meilboksi järjekindlalt teadetega pommitanud. Reeglina on see muusiku uute singlitega seotud olnud. Tõsi, eelmise aasta lõpust pärineb ka album "Tranquillity" (Jamendo), kus ta mängis instrumentaalset kitarrimuusikat post-rock`ilikku kokkupuutepunkti otsides.

Nüüd on järg klaverimuusikasse jõudnud. 4 lugu (kogupikkus 10.13) ei äratanud esimestel ja pealiskaudsetel kuulamistel erilist huvi (muusikat ei tohiks tõepoolest taustaks kuulamise põhjal hinnata). Keskendununa hakkasin üllitise voorusi tajuma ning neid üha juurde leidma. Eile varahommikul aknast välja vaadates ning õrna lumevaipa murul nähes tajusin, et seesugune muusika ongi vaikeluliste olupiltide helindamiseks loodud. Minimalistlik, melanhoolne, samas jõuduandev ning ergastav. Meetod on tõepoolest minimeeritud - kas üksikud piaanoakordid üksteisele samal ja lähiastmestikul järgnemas või siis arpedžode abil õhku tõusmas. Üllitise pealkiri siiski ei ole "õigustatud". Ängi(stust) see õnneks ei tekita, seesugune õrnalt melanhoolne tüünus võib paljude kuulajate jaoks täiesti normaalse hingelise seisundi peegeldajaks osutuda. Teisalt ka mustvalget ning kontuure ähmastavat kaanepilti ei väsi vaatamast. Mis iganes, kuid tulevikus tahaks küll ukrainlaselt mõnd täispikka üllitist kuulda.

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8.6

Jacques de Villiers More Wind For Lonely Suburbs EP (2010, Jacques de Villiers)

Jacques de Villiers on käesoleval aastal oma teise üllitisega tagasi. Muusik, kelle helikeelt võib võrrelda Tim Hecker`i digitaalkrabinatest seestunud boreaalkosmosega aastaid 6-8 tagasi. Sarnaselt Montrèal`ile puhuvad ka Kaplinnas külmad tuuled ning sajab palju lund. Lisaks elavad seal läheduses ka pingviinid. 24-aastase aafriklase aasta alul ilmunud "Sleepsongs"-i (hinne: 8.9) hõllandustele on lisandunud uued dimensioonid, asi on käändunud veelgi rohkem ebamaiseks ning unistuslikuks. Žanriliselt tähendab see keskendumist üksikute piaanoakordide ruumis laialihajumisele ja sulni mikromüra süvahoovustele; kadunud on drone- ja shoegaze-varjundid, lihtsalt kinemaatiline ja emotiivselt plahvatuslik helipilt on lahti rullumas. Teisisõnu, seda võib vaadelda ka kui harmooniate ja müra piiride seiklemist, segunemist ja hägustumist. Aga jah, siin on kõigest 3 lugu: Oceanic Preamble, Written For You After You Left Us ning Wednesday, 18 July 1945 (A Perfect Winter's Day).

Kuula albumit siit

9.6