Comment:
before having any factual knowledge about this Uruguayan artist while
having listened to this 13-track in a row for many times I rather
would have thought of Dioxadol Borges as an artist from Chicago, the
home city for pan y rosas discos. Chicago, Illinois, USA is being
known due to many experimental music and improvised music scenes, one
of them is improvised music/free jazz scene involving such artists as
Isotope 217, Brokeback, David Grubbs, Chicago Underground Duo,
Chicago Underground Orchestra if to name some well-known ones. In
fact, all these artists are genre-fluid, and the same could be said
about Dioxadol Borges. Roughly, it could be said the issue is heavily
electronic keyboard-driven being accompanied by different sorts of
rhythms. At times it is quite laid-back and New Age-y, sometimes
driven by more aggressive beats and sonic effects and studio
trickery. Those more placid moments remind of another South American
(an Argentinian living in Brazil) artist Humberto Luis Schenone, and
early albums by Dave Keifer aka Cagey House. Within those more
tumultuous moments one can enjoy bold drumming and acidic keyboard
beams and mutant, machine-repressed vocals engulfing you in an
exuberant way (for instance, at tecnochipland). In a word, the
result is somehow chill and mirthful to be adeptly reconciled. It depicts a balanced and graceful motion. Solid
work.
Comment:
in the first place, I am very glad to be back at the discography of
Portugal-based imprint Crònica of which releases seem to be
something peripheral and idiosyncratic and
stunning.
For instance, by listening to this 4-track issue of clocking in at a
28 minute it is an amalgamation of found sounds and manipulated
electronics/glitches which used to result in something dreamy and
affording physical relief.
All these compositions are titled by those places where the concrete
sounds had beenstored (Lake
Mooste; Wind from Põlva; Song of The
Lilac; Delta of the River
Emajõgi). For me, it is a very special outing
because these ones have been done in the south(eastern) Estonia,
nearby my
childhood places and the
dispersion area of
my relatives. Partly
because of that and partly because of the grandeur of the soundscape
it taps into my soul and brain. At
Sireli Aeg one
can enjoy subtle drones and bubbling electronics and Mira Tarvainen`s
vowel effects and staggering
chants.
At
Emajõgi Delta
there are up glitched-out spatial dimensions being
developed to perfection. Mostly
the music is
wondrous and sometimes
sad
at its core. In
a nutshell, it is a great issue being
related to a cultural laboratory, MoKS in Mooste.
Comment:
although Charleston, US-based combo Dumb Doctors` music has been
compared with the likes of Ty Segall, and Black Lips I have to admit
the power of their soundscape to come forth from such legendary
sources as an early The Rolling Stones, Motörhead, Led Zeppelin, and
Black Sabbath. Indeed, it is an invigorating mix of spellbinding
blues-induced black energy, and a rough handling on guitars and drums
through the diabolical rehearsal room. Furthermore, it is an example
of the one and only rock and roll music. Yeah, it is mostly free from
ambiguity and very striking in its straight punch. Holy shit for all
of us. The issue is a part of the discography of Moscow, Russia-based
Pomogite Community. All they do is cool. Absolutely.
Comment:
this 31-minute buildup is of high quality being expressed both in
composition and narrative and thereby constituting an intriguing trip
for a choosy listener. More profoundly, it is made up of field
recordings of a rainy day and eerie electro-acoustic clatter and
monochromatic but lively drones slowly and elegantly lurking beneath
and swaying atop. The artist exploits field recordings of his own,
John Grzinich, Jim Haynes, Yirogis Sakellariou, Eamon Sprod, and
Simon Whetham. The issue is a part of the discography of
Portugal-based imprint Crònica.
Comment:
this handful of tracks is a nice sway between poppy indie and
slightly more experimental approach. For instance, Pins And
Needles is a straightforward, chiming indie pop example, however,
mostly Davide A., a musician from Turin, Italy likes to trudge
between slowcore, indie electronica, and restrained post-rock
developments. Honestly, the latter element is more likeable and
intriguing. Indeed, at the time all the chords are boldly delineated
where sheer guitar keys are accompanied by sublime electronic
tingling and soothing storytelling thereof resulting in something
majestic and epic though it had been done in a restrained way. I like
these blissful build-ups being interwoven with stunning longing and
beauty (in the first place, listen to such compositions as Aveiro,
and Panamerica). By kindred souls there can be drawn parallels
upon the likes of Low, The American Analog Set, The Sea And Cake,
Archer Prewitt, and Sam Prekop.
Comment:
Matto Grosso is a collective from Santiago De Compostela, Spain whose
13-notch issue is a powerful blend of hardcore, noise rock, and
post-punk. Some lyrics are in Spanish, some in English. By listening
to these tracks one can perceive a certain sort of buildup within the
quartet`s music – it frequently starts off in technical way, even
mathematical sort of relations between instruments can be found out
from there. However, many tracks will finally burst into noise
torrents with apocalyptic echoes and primal bluesy energy of rock and
roll. Yeah, it is a sophisticated and straightforward rock music
example at the same time. It makes difference, it makes sense due to
the combo's wise planning and impressive energy behind it. At times
one can perceive similarities with the likes of Sonic Youth, and The
Fall (more remarkably, at Positive). Stunning.
Comment:
this handful of compositions is a consistent blend of rough
electro-acoustic, rugged chamber music, and more sublime ambient and
volatile electronic progressions. Musically it is intriguing to
listen to it because electronic music is seamlessly mixed up with
sounds of natural instruments. For charlatans I guess it would be a
good fare to describe their view of outer space through the
aforementioned elements, of how masculine and feminine genuine/primal
matter will meet each other, of how energy will have been lead in a
proper way. They might be right, by the way. You can not wave off
odds and ends within it because it is the main ingredient to lift the
whole up to the next level. ASmashed
Up World is the final
issue on it and being the right choice for it. The composition will
expand epically due to fine-grained glitches and the dense
orchestrated drone which is going upwards again and again. The outing
is a mote in the discography of EverythingIsChemical.
Comment:
Liz Chidester is a new singer-songwriter from, Chicago, Illinois, USA who is adept at
storytelling to bring forth oldie traditions through music, lyrics
and memories told once and now by one generation to next ones. It
seems the tradition is something extraordinary seminal which enables
new galaxies of indie folk/alt-folk and also mainstream folk and
country artists to be cropped out. In a word, it is the seminal soil
for singer-songwriters today and in the future. The outing of Liz is
austere but poignantly accentuated to fill one's soul with emotional
coverage and suggestive touch. She says these five songs are the most intimate she has ever written. It had been created during the worst winter storm in Chicago in 2014. All in all, let it be a boosting
engine for your world of imaginations.
Comment:
I am sure it was a happy period of time in the beginning of the 00s
when such labels as Epsilonlab, Thinner, Kahvi Collective, Autoplate,
and Monotonik started off to develop a new, net label-based platform
for the club oriented scene. For example, there is up Jeff Bennett
with three compositions full of trance-y magic being conjured up by
monotonous yet enchanting techno influenced beats in the vein of
house music. Frequently the techno influenced vibe will be jettisoned
for more deeper and nocturnal vibrations. It is far more than just a
collection of tracks - it is the feeling, it is the mood. It is the
superimposed quality of variegated beats and sublime softened
synthesised chords and synergy pouring out of it. For me, it reminds
of those times approximately 20 years ago when club music, especially
deep house, and drum and bass were those styles which would influence
me profoundly. Top tier, for sure. The issue was the first release in
the discography of Montrèal-based imprint Epsilonlab.
Comment:
a first thought of mine was it is music for cello, and live
electronics. However, I was totally wrong because instead of a cello
Daniel Barbiero plays a bowed double bass, and Ken Moore employs a
tam-tam (it is a percussion instrument consisting of a metal plate
that is struck with a soft-headed drumstick). It embraces seven
improvised compositions full of space, and time, full of different
frequencies and changes within it. Even if one used to think of it to
as an austere one because of a minimal amount of instruments it is in
fact a far more than a sum of its initial parts. It is saturated with
grayish delay effects, achromatic reverberations, some gong-induced
slams and mournful drones beneath it. In the terms of metal as an
element, it is filled with different sort of clattery, rusty grinding
and reddish-tinged rattles. It must be called synaesthesia, if you
hear colours or at least the spectra of them. This could be a good
soundtrack for a contemporary gothic motion picture, at least to
depict some (horrendous) scenes within it. As I understood the tracks
are not recorded in one and the same place, not during the one
tenure. The issue is a part of the discography of Chicago, US-based
experimental imprint pan y rosas discos. Very intriguing outing
indeed.
Comment:
sometime in the first half of the 90s when Sun Ra left Earth for
Saturn forever, to arrive at his birth place he also left vacant his
place on the blue planet. By listening to spatial music by Colorado,
US-based artist Drew Miller aka Brother Saturn, and enjoying the
quality and quantity of his sound he could be an excellent candidate
to replace the legend. Unstable Land is a beatific progression
through extended and stretched chords and drones being saturated with
vibrations. He exploits both guitars and apparently modular
synthesisers to fortify the soundscape. At times there can be drawn
parallels upon Slowdive's abstract development Pygmalion, at
times upon M Geddes Gengras, at times upon the most hazy moments by
Ducktails, at times upon epic still life by Pan American at Quiet
City, however, the artist does have his own subtle touch and
sublime approach among the other ones. I guess Miller's proficiency
used to come forth through a dense creative act while drifting
between the formalism and sensual (emotive) music. Indeed, one
element does not exclude another one in his theoretical setup. Maybe
there is also up invisible magic needed to unify the both elements
into an enchanting whole. The finishing track Nature`s
Reckoning is more mundane in comparison to the other compositions
due the stomping mid-tempo rhythm which is accompanied by a distinct
guitar pattern. All in all, the result is worth to be added to a list
of the best albums in 2016. It was announced Unstable Lands to be his last issue on We Are All Ghosts. By the way, in recent times the artist
issued a couple of brand new ones called Descent Into Madness,
and Light! Joy! Ascent! I See The Stars In Your Heart.
Comment:
I can remember for it happened approximately 4-5 years ago at a small
indie festival at Killingi-Nõmme, Estonia called Schilling nearby
the natural environment when I was enjoying a performance by the
Canadian troubadour Sean Nicholas Savage. It was fascinating because
of seeing barefooted Savage walking and at times sitting down while
singing at the stage in late night being predominant and staggering
with his voice which used to expand everywhere being just accompanied
by one guitar. It was one of the most impressive gigs I had ever
seen. And it is true to recent days. The Montrèal-based artist is
being sonically active to have released CDs, LPs, tapes and digital
items under Arbutus Records. Yeah, SNS does have his own
idiosyncratic style to have expanded and developed over the years.
His ascetic and spartan blue-eyed soul is full of emotions and
enchanting soulful resonances and one can perceive his flickering
longing while singing about love and his love towards music /Music
saved my life that's why I wanna spend all my time doing music/music
gets me high that's why I wanna spend the rest of my time doing
music/music saved my life so many times/. Indeed, I guess
Music is one of the finest direct dedications to a most
exquisite branch of art. In truth, your own thoughts and experiences
get transmitted back to you in a spirited way. It touches very
closely all those of us being addicted to music and sonic design.
However, this is just one great ditty among others within the outing.
Maybe it is even more honest to conclude about the albums of him as
wholesome fists of compositions which used to hit the listener (by
the way, Montrèal-based artists like to employ the fists in their
music, even if those are the skinny ones with regard to GYBE!). It
will live up to your expectations even given that you could expect
from it before to start listening. It could be said he is one of
those contemporary indie stalwarts with Connan Mockasin and Soft Hair
and partly Kevin Parker from Tame Impala and in recent days even Kurt
Wagner from Lambchop who have developed soul mannerism and added new threads and twists to it within the indie music scene. In a word, it is a
subsequent great listening session by him and support him by buying
his vinyls, tapes and CDs and digital files.
Comment:
it have always felt myself delighted while coming to a Japanese
imprint, this time to Bunkai-Kei. This issue of 11 compositions by
Calla Soiled is a true beast due to fairly exquisite modes on chill
out, electronica, design pop, jazz, and (Balearic) and electro and deep house and
even drowsy yacht pop elements are also represented over there. On
the other side, all these elements are not represented in pure way
and even not in a sectional way but instead of it with intention to
think off something which could be considered an example of universal
contemporary music. An example of electronic music without the
borders. And the artist reaches the goal in doing it. I have been
listening to it since early morning today but the result is getting
even more woozy and hazy. It is not because the structure and
configuration of these songs is filled with microscopic flaws one
could find out after an intense listening session but rather it is
zipped in a sophisticated way full of alchemically sticky elements
which used to react with one another after a while. On the other
hand, it might be I caught the level of nocturnal and deep
house-inflected hours within it (for instance, at Rainfall;
at Pellucid).
By considering the blanket of the issue and the music pouring out
from within it you could imagine eineLichtung /a
clearing/lighting to be seen within the ragged top of a volcano in
Heideggerian way. Top standing indeed. For your soul, for your body,
for your dream, for your reality, for your transcendental mind.
Comment:
either
to understand is this issue decoded or encoded it depends on the
viewer`s perspective and
keen ability to imagine.
For instance, the compositions on it are titled in the following way:
Y2022,
Y2042,
[-1-],
[-2-],
[–Tran-Sition–],
and Y2062.
This issue of 13 minutes is produced by the Aussie Reuben Petrovski
and being released on an experimental music-oriented imprint called
Radio Stalingrad which face to face with the aforementioned titles
would freely be denoted as the Battle (of) Stalingrad. At
least it could be imagined as a battle between the ghosts of the
soldiers who succumbed during it. Indeed, emotionally these six
wiggly
compositions
chime in a morbid and ghastly way because desolate spatial droning of
empty fields and
fluffy anti-gravitational sensations are
followed up by clattery dissonant noises wherein one can make
difference between black and brownish noise, between
the soil and air.Later
on, the artist exploits ghastly sounds as if being lead through the
aether to convey a secret message. Is it from one
dead
ones to other
dead
ones or is
from
the dead ones to the living ones? Or
vice
versa? Emotionally
it is remarkably more overwhelming than an average pop song.
Aesthetically it is a case where one could see a sort of beauty
through gruesome progressions and
fascinating ugliness.
Comment:
by following the thread at Bandcamp about the Atlanta, Georgia,
US-based project this might be the debut issue of the artist. More
profoundly, stylistically it is an exquisite mix of chill out, moody
electronica, dub-inflected sprawling and trance-y psychedelic
softness. One composition is recorded live. At times it might remind
of The Orb (especially Orblivion, 1997) because the artist
constitutes a broad space to create a trance-y psychedelic
metaphysics within it. The result is elegantly resonant being
saturated with different colours and dynamic penumbras. Jokingly, it
is such a sort of universe where the lovers of trance music will go
afterlife. Seriously, I hope it is true because the result is rich of
fabulous images and bucolic spellbound.
Comment:
it is said this 8-notch track is a collection of
unreleased/lost/weird stuff, marking 10 years of Comptroller since
2006 to 2016. So yes by watching the row of released albums by
Edinburgh, Scotland-based artist it could be said he has reached
aesthetically much during this span of time. Musically he has
revitalised a Commodore 64 and Amiga and game console-based
tradition, called chiptune/8-bit/tracker music. With regards to most
nowadays electronica traditions it could be said that the tracker
music legacy is more about to create an electrically loaded field
around the listener. In other words, one can perceive thick, loaded
electric flows coming out from the both stereo channels. So yes, you
can perceive those awkward, rough tiny muscles being constrained
behind those electro chords (at times being quite close to the
electro-punk/indie attitude). In a word, it is a nice retrospection
of the artist.
Comment:
Azevedo Silva is a 34-year old troubadour from Lisboa, Portugal and
it is his third issue being issued 8 years ago. At Bandcamp one can
find out 8 albums in total. All these songs are in Portuguese and
because of having no knowledge in this language I have the only
chance to concentrate on sounds and harmonic and melodic aspects. All
the concept used to focus on smouldering guitar play (even if it
contains more acute and incisive dodges) with soulful singing being
accompanied by some becalmed rhythms, affecting glockenspiel chords, spatial sonic and reversed effects, and some compelling arpeggios here and there. Although it does not contain
much effects while being embedded within a calm cast those effects
makes more difference because of it. For me, it is a quite genuine
listening session because this Portuguese version of indie folk music
does mean poignant guitar chords being intermingled with some fado
undercurrents. Let`s call it a Portuguese version of Americana to
draw parallels with bands over the Atlantic Ocean. In a word, it is a
very fine listening time.
Comment:
this handful of compositions is a fine listening session because it
chimes like a soundtrack for the wind blowing over the empty fields.
Indeed, it is precise because it feeds one`s imagination about a cold
winter, secondly it is crafted in the manner to masterfully
accentuate a certain range of sonic odds and ends and thereof
exquisitely arouse one`s emotive centres in heart and mind. By the
way, at Archive.org it is tagged as dark ambient, and polar ambient
in a poignant way. On the other side, it searches for connection
either with the deceased world or the world of the deaths or for
connection with both of them. It could deliberately be imagined as an
accompaniment to documentary motion pictures depicting catacombs and
graveyards. Yet, In a word, listen to it and be ready to participate
in a lonely and desolate world. Additionally, by listening to these long
compositions one can imagine the abduction of Persephone by Hades and
the follow-up to it – when Persephone leaves the Earth to go down
to the underworld to her husband and then a great part of the nature
either will be deceased or freezed for a long time. However, sometime all will be born again. There is up hope, there is the expectation for a better life. Undoubtedly it is
a purging experience. The issue is a mote in the discography of
Gorrion de Miga.
Comment:
this 11-track issue is a part of the discography of Swishcotheque. It
is as colourful and arousing and involves as much penumbras and
shades as the cover print of the outing. In fact, it is quite
puzzling to grasp the main flow of it because it includes the beats
with different frequencies and disparate timbral suits and gleaming
synthetic progressions on top of it. Because of that I would like to
exploit such general stylistic tags as breakcore, and synthwave,
respectively. The sensitivity of nu jazz, and nitid cadences. It
might be that my question is posited in a wrong way because music
needs no borders in any cases possible. Thereof it is almost
impossible to say what it is but being a staggering release anyway.
Additionally, one can enjoy more generic aspects on it – the
clarity of sounds and subtlety with regard to the production. And
that makes sense in the first place.
Comment:
this 9-notch issue will be finished off before it could embark on
basically. Indeed, it consists of short snippets though full of
different colours and stylistic dodges though the common line between
the tracks is its inferior quality. For sure, it is a mind-provoking
issue as if produced by a deranged madam who has gotten some sound
panels of electronic music at her disposal to depict her seriously
disturbed state of mind. She is freaked-out, she is psyched-out, she
is maniac, she is angry and she tries to get the better of it by
playing free jazz and improvised music on her own terms. At least she
tries to do that because the result is remarkably more unsound and
crazy. Thereafter I guess she feels herself a bit exalted and high-minded and calm. As
the issue proves he does have success while representing something single and refreshing. Agnès Pe is an
artist from Spain and the issue is a bit of the discography of the
MAV [0kbps].
Comment:
undoubtedly it is a fabulous 8-notch ghost from the past from the
mid-00s when electronic underground music was still set up in the way
to stand against the mainstream pop. There were up axial record
labels like Mille Plateaux and Morr Music of which purpose was to
disseminate IDM and glitched-out music and they succeeded in that.
This album can be considered the magnum opus by Andy Kirk, because
one could not find out other issues by the artist. The result is
mind-blowing, catchy and just beautiful and thereof it used to evoke
those cute memories which had existed 10-15 years ago while I was
listening to artists who used to dwell between electronica, indie and
glitchy beats. Furthermore, it reminds of advertising flashes at
night while blinking and casting the light and neon shadows around
and upon you. At times Andy Kirk's music sounds a bit infantile
though it is obviously an affirmative moment by showing up the
artist's ability to laugh at himself and drift more loosely in
disparate ways. The issue contains a bunch of tracks which would
throne the pop charts in an ideal world. Indeed, I like the kind of
idealism which is presented in the artist's music. In fact, it is
quite weird to experience such sort of a feeling as if you are
foretold the future while you are listening to an issue from the
past. The more you listen to it the more it opens up new angles and
dimensions, at times one can feel it quite unfathomable. In a word,
it is a mandatory listening for anyone who considers himself/herself
to be a music fan. The issue is a part of the discography of Earth
Monkey Productions.