- Ambient
- Kosmische Musik
- Alternative
- Soundscape
- Epic
- Crossover
- Electronic music
- Post-rock
Year: 2009
- Electronic music
- Sampledelic
- Art pop
- Chilltronica
- Spoken word
- Indietronica
- Ambient pop
- Post-pop
- Mood music
- Alternative
- Experimental pop
Year: 2014
- Minimalism
- Avant-garde
- Non-music
- Soundscape
- Experimentalism
- Drone
- Conceptual
- Abstract
- Microtonal
- Experimental electronica
Comment:
first of all, during the first minutes of listening to this 78-minute
long issue by Texas-based artist I had to take into account noise of
the TV coming from a neighbouring room. Because of that I put on
earphones to dive into a delicate universe of Scott Lawlor.
Furthermore, it was quite surprising to discover that the US-based
artist's concept resonated with the behaviour of mine. Given that his
idea is to dig into the realm of sensory deprivation (aka perceptual
isolation) and because of that being the area of study in psychology.
Indeed, I am here to be as a guinea pig for this awe-inspiring
soundscape. It can be admitted it is more a physical rather than a
psychological and mental experience. At least at first glance I
think. For sure, its psychological effect comes in a bit later
because the effect of this droning lobotomy is something refreshing
and detersive. Maybe it is comparable with the effect of
antidepressants making a person feel himself/herself dull and torpid.
Moreover, such an effect makes me unable to perceive the nuances of
the recent soundscape – is it running at one pace only or does the
artist provide some microscopic changes and phase shifts within it? I
do not know. Additionally, there is a little to talk about in
aesthetic terms altogether. Because the intention of these 78 minutes
is something different. Let's continue in psychological terms –
let's guess I am perceiving some odds and ends within it but could I
be sure I have right at all? It might be my consciousness has already
started to play tricks. However, at a 54-minute I am sure I
heard/discerned a new layer to be added to the blend. All in all, it
is better to follow the artist's initial idea and lost
himself/herself under this sly and overwhelming avalanche. In truth,
it did have healing effect upon me (I have had a shitty mood today). The outing is the first part of the trilogy of releases and a bit of the discography
of CerebralAudio/CerebralRift.
- Electronic pop
- Alternative pop
- Autotune
- Art pop
- Lounge pop
- Live session
- Soul
- Mood music
- Indietronica
Year: 2016
- Krautrock
- Experimental rock
- Art rock
- Live session
- Psychedelic
- Alternative rock
- Avant-rock
- Noise rock
- Proto-indie
Label:
WFMU/Free Music Archive
Year: 2009
- Avant-garde
- Sampledelic
- Plunderphonics
- Experimentalism
- Leftfield
- Breaks
- Latin music
- Electronic music
- Hauntology
- Mood music
- Trip-hop
- Downtempo
- Psychedelic
Comment:
it is always great pleasure to meet with Brett Zehner and Eddie
Palmer's new works and it is permitted at least twice a year.
Musically their task has been to reflect upon some conspiracy
theories mostly related to extraterrestrial beings and unknown flying
objects. And aesthetically it could be described – always different
always the same. Mammoth (a 48-minute monolith), one of the
duo's albums released in 2016 was named very "indifferently"
in comparison to the New York-based duo's previous works and also
musically it involved new tendencies and patterns additionally to the
already known ones (haunting cadences, buried speech transmissions,
Latin music coloured timbres in an old-fashioned way, intriguing
sample snippets). More profoundly, low and austere bass rhythms used
to move on in an unstable yet elegant way therefore showcasing more
experimental and minimal approach in comparison to their previous
works. The recent 10-track outing seems to run more in a previous
vein because of consisting of the samples of desperate accusations
due to the government of hiding an information, for instance. These
fabulous speech samples are accompanied by sharply soul-scratching,
highly longing Latin oldies and loosely throbbing rhythms, and
gleaming electronic ghosts. Additionally, one can hear tanpura
drones, brass outbursts and manually played drums. The soundscape of
the issue is highly dynamic, ghastly volatile and at the same time
providing many parallel lines and notches. There are even represented
some moments which come quite nearby to danceable music (at The
Rouge Terror of Narragansett Bay/ Parks At Night Are Always
Dangerous). Indeed, the song titles of the project deserve to be
focused on additionally. In a word, I could not resist to the appeal
of The Fucked Up Beat. Why should I do it at all? Let's go tripping
back to the past because the right answer is this release is time
machine. Every wave is new until it breaks even if it has been
ancient and dust-eaten before (paraphrasing Neil Young – Rap id
Tran sit). Similarly to Mammoth it is an excellent issue from
the year of 2016. The more you listen to it the more you are getting
lost within, the more you are getting out of here. By the way,
recently they issued a brand new one, called Records Vanishing
Crop Circles and Occult Rituals in the Future Age of Paranoia.
- Design
pop
- Electronic pop
- Remixes
- Alternative pop
- Post-dubstep
- Poptronica
- Synthwave
Comment:
Paris, France-based artist Andrea`s (or AndreaLo) 7-track issue
involves 2 original compositions and 5 remixes of a track, Work
the Middle. With regard to the song titles and some voluptuous
sighs within it this does have implicit suggestions at oral sex (Work
the Middle, Going Down) and I guess the remixes depict a
stage when a human being is inflected with a human papilloma virus
and prone to different types of head and neck cancer. If to let that
black humour aside I have to admit I like it. The album I mean, of
course. I enjoy it though I am quite suspicious about the so-called
design pop (which often embraces post-dubstep vibes within it) being
very predominant today. You know one could produce it in his/her
cellphone very easily and mostly is excessively polished and
artificial. At times it lacks soul and spirit. Fortunately this case
is mostly spirited and enjoyable to live up to one`s expectations.
One is sure Andrea is indifferent toward post-dubstep neither
substantially nor formally (at Bandcamp you can find out his version
of James Blake`s I Never Learnt To
Share). Work the Middle is remixed by such
artists/producers as Kodak To Graph, Kyson, Real, Grobbie, and
Splinter. The issue is a bit in the discography of Bad Panda.
