Yann Novak - The Breeze Blowing Over Us (Infrequency)

Infrequency Editions is a sub-label of Dragon's Eye, the latter owned and operated by Yann Novak himself. The label was originally founded by Jamie Drouin and Lance Olsen, but after a brief hiatus, and introduction to Novak, it merged with Dragon's Eye. Originally concerned with documenting live performances and sound installations presented through public concerts at a local gallery in Victoria (British Columbia), Infrequency also releases ambient and minimal studio compositions, as is the case with this recording. The Breeze Blowing Over Us is based on a simple recording of a fan, during one of the hottest days in Seattle. This recording is transformed into a 38+ minute composition that layers organic and synthetic sounds into a thick, brooding, drenched with tropical haze, and tense composition, with a slow movement of mechanically distributed air, worthy of its original title. The piece begins with a moving onslaught of dense textures, inching its way into the foreground at a crawling pace. Muffled sound waves, resembling a pitched down ocean, or the rumbling of a gigantic vehicle passing through an underground tunnel, are offset by distant, high frequency robotic screeches of an alien species. I proceed with caution in the darkness, and feel ahead what must be the door handle. I guess this is where I enter. Suddenly, I'm fighting through the thick vegetation of sound. Soon I come out upon an opening, where the chords crawl up a mountain in a melting drone of lava. This expedition with sound enters a sacred circle of open mouths and stretched out hands, to lift the trapped spirit into the cloud of white noise, only to be spilled again in a form of frequency rain, at the foot of the mountain. The atmosphere of this recording is tightly wound, condensed, drenched in suspenseful emotions, with a slight tingling of uneasiness. Some may even find this unsettling - but not I. I love dark and spooky. Descending deep into abandoned caverns of sound is my part time sport. For the same reasons that one replays those eerie horror movies, I return to Novak's world, time and time again. Check out Novak's extensive discography, with many limited and archival recordings of live performances on Dragon's Eye. His attention to detail with the work on a label, and persistence at reinventing his sound has finally been rewarded - Novak has been noticed by Richard Chartier and is scheduled to release an album on Line in September of 2010.

See also Two and a Half Questions with Yann Novak

yannnovak.com | dragonseyerecordings.com | infrequency.org

TU M’ - Monochromes Vol. 1 (Line)

Monochromes Vol. 1 is the first volume of archival installations by the Italian multimedia duo, Rossano Polidoro and Emiliano Romanelli, performing under the moniker TU M'. The name, taken from Marcel Duchamp's same titled painting, is a French expression in which the verb is missing (tu m’…). This literally translates to "you [...] me", where the missing verb must be provided by the viewer (of the painting), or, in this case, the listener. The album, released on Richard Chartier's LINE Records, features the first four (out of nine) audio compositions, created for "two laptops, two mixing boards, two loudspeakers, one video projector, [and] one room." These pieces were recorded live at Vico Santa Chiara Studio, Città Sant’Angelo, Italy in the summer of 2008. For the installation, the duo create an atmosphere where "sound and light vibrations reverberate inside the room, blending together in an enveloping monochrome, that creates an atmosphere to be contemplated." The visuals, available as excerpts on the TU M's website, are composed of drawn out monochrome landscapes, resembling distant mountain silhouettes and sluggish geometric figures, visible in change and movement only through sporadic skipping through the captures. Attempting careful observation, or trying to make out patterns that are not there, is futile. It's like watching yourself age in the mirror. It's like watching the clouds... The audio compositions paint the same picture. Over a slight white noise hiss and endless loops, the melody swells in ambient waves of sound, sparkling in the light of distant piano notes. Like the waves of an ocean that have been crashing against this beach for thousands of years, and many years to come, this music is new and ancient - it exists _all_ the time, somewhere completely on its own, only to be summoned into this moment with the press of a button. The sounds fade in and out with the rhythm of my breathing. Inhale soft pads. Exhale minor chords. Let this pattern wash away all worries. And when the [almost] 30 minute track ends, the melody is still there, in the background of my mind. To round off this exploration of space, sound, and light, intertwined together to create this minimal composition, the duo includes a quote by Jean Cocteau: A poet always has too many words in his vocabulary, a painter too many colors on his palette, a musician too many notes on his keyboard. Check out previous numerous releases by TU M' by rummaging through their sound and visual works, carefully catalogued on their website. Their project under the name of Steno, for example, describing themselves as "a world made up of second-hand music", is released on their own, Mr. Mutt label, which, not coincidentally, is the name Marcel Duchamp signed on the upside down urinal, and named his found art as Fountain.

See also Two and a Half Questions with TU M'

12k.com/line/ | tu-m.com

B.J. Nilsen - The Invisible City (Touch)

I have to admit that I'm mildly surprised by where my musical preferences are taking me these days. Until recently, I didn't really have much patience for drone and noise music. I found it intriguing but I couldn't really wrap my head around it. Now I find myself increasingly gravitating toward these more abstract forms of music, especially if they incorporate field recordings. There's something primordial about this music, as if it allows you to engage with some elementary force deep within. The sharp edges that I used to find grating are now so deeply satisfying. Am I hearing it differently? I don’t know. But I do know that for me, listening to music like B.J. Nilsen's seems to slow the passage of time. Gradually, the sounds combine to build a scene that remains constant over an extended period of time, giving you the time to peel away the surface and submerge yourself in the substance beneath. It really focuses the mind. It's what I imagine meditation must be like. B.J. Nilsen is one of the shining lights of the treasured Touch label roster and a luminary of electronic drones and field recordings. I just recently discovered his stunning last album, The Short Night (Touch, 2006), and his latest, The Invisible City, is another high water mark. Nilsen has traveled as far afield as Japan and Portugal for the source material for his field recordings and the track notes provide fascinating insight into the building blocks of Nilsen's compositions. Along with the electronics, acoustic instruments (Hildur Gudnaudottir makes another appearance on [pitch-regulated] viola) and processors he uses, Nilsen lists the recorded sound sources. And so, “amplified chair dragged across floor”, “window shutters”, “steel whistle coffeepot” and “birdsong” place their indelible mark on the opening track Gravity Station. A few minutes in, underneath a steady thick metallic drone and the hum of vibrating electrical lines, you can just barely make out what sounds like the weaving tones of a Middle Eastern flute – something you might hear off in the distance in a busy sun-drenched Arabian market. Or is it my imagination? Then, halfway through the almost 17 minute track, the chair and shutters lurch loudly and rudely across the sound field, heralding a rather menacing and doom-laden finale. A frantic chorus of birdsong whips things into a frenzy before the end comes with desperate bursts of twisted noise. What does it all mean? I don’t know. But on the whole, Nilsen's sound sculptures – which seems to me a more fitting description than “music” – are ominous. If they are indeed a representation of some aspect of city life, then it must be of an urban underbelly. Of dark things that lurk underneath the surface, like the high-pitched static squeals in Scientia that recall rats scurrying around the sewers beneath our cities. But more than anything, the music evokes industry and technology, from churning motors and machinery grinding to a halt in Phase and Amplitude to a burst of a fax transmission at the beginning of Virtual Resistance. Digital data snaking its way through the invisible passageways that lie behind the walls of our constructions. The ironic thing is that many of the field recordings originate in nature. Bumblebees, wasps, birdsong, flapping wings, crows, rain, footsteps on snow, “dead trees leaning against each other”. But they are usually manipulated and processed to such an extent that they are unrecognizable. Nevertheless, they bring life, depth and movement to a cold and hard backdrop constructed of wires and steel. And together these elements form remarkable sound sculptures that will undoubtedly stand the test of time.

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Review prepared by Tigon for Headphone Commute.

See also Two and a Half Questions with B.J. Nilsen

myspace.com/bjnilsen | bjnilsen.com
touchmusic.org.uk

Beta Cloud - Lunar Monograph (Laughing Bride Media)

It's easy to write about beautiful music. When the ambient pads wash over the gentle picks of a guitar and the distant eavesdropping of radio frequencies, it's easy to write. When the soft piano chords are smothered in a generous dose of warm reverb, spreading over the field recordings of a rainy city street, it's easy to write. When the music itself draws on the images of time slowly passing by as the world is drowning in the Sea of Tranquility, it's easy to write. It's easy to share these words with you about the music of Carl Pace, because it simply speaks for itself. And these words are just the outcome. Composing under the Beta Cloud moniker, Pace has had the pleasure of performing and releasing music with Aidan Baker - An Open Letter To Franz Kafka (2007), and Lull - Circadian Rhythm Disturbance (2008), all being published on Laughing Bride Media. But forget about name dropping for a second, and get immersed in the ethereal drift of weather torn sounds. In between the frequency currents, Beta Cloud's third full length album, Lunar Monograph, stands out on its own, setting up the mood for all the ambient sounds of 2010. The tracks on the album are named after the large, dark, basaltic plains on the Earth's Moon, known as Lunar Maria. This is where the titles for Marsh of Sleep, Sea of Rains, Bay of Billows, and the above mentioned Sea of Tranquility come from. The latter, a 21+ minute ambient soundscape, full of blissful white noise, bird sounds, and acoustic wind, is drenched in a strumming of a shoegaze guitar, organic chords, and ghostlike sounds of the sleeping world. A stunning mediation on our natural satellite. To reveal more of the concept behind the album, Carl Pace explains: in a broad sense, [the album] addresses our own perceptions of our lives; the world around us, the moon above, and what lies beyond that; the waxing and waning of our own personal existences. and in a very broad sense, it addresses the concept of 'lunacy'. there's a quote from carl sagan on the inside sleeve of the disc that reads: "We knew the Moon from our earliest days. It was there when our ancestors descended from the trees into the savannahs, when we learned to walk upright, when we first devised stone tools, when we domesticated fire, when we invented agriculture and built cities and set out to subdue the Earth. Folklore and popular songs celebrate a mysterious connection between the Moon and love." i think that sums it up nicely. The Lunar Monograph, or a concise study upon this very specific single subject, has been composed in the span of about three years. The result is an album with ideas borrowed from live performances, studio pieces, and field recordings, folded neatly into a sonic package, and delivered directly onto the doorstep of your soul. For the source of the material, Pace compiled recordings of "some of the beautiful things in life that we take for granted every day due to sensory overload, subway chatter of several voices in NY and Toronto that become one cacophonous and expressive voice in the process, beautiful thunderstorms that lull us to sleep on summer nights, the sounds of birds in my garden that i watch flourish and wither without fail every year, fireworks displays where people gather almost instinctively to realize that there is something greater than we out there. and others..." With the artwork by Chase Middaugh, and mastering by James Plotkin, Lunar Monograph will surely please the fans of Tim Hecker, Lawrence English, Simon Scott, and of course, Taylor Deupree and his 12k output. If I'm doing another Best of 2010 list the same way next year, then Lunar Monograph, will surely get filed under my Music For Bending Light and Stopping Time category. Highly recommended.

See also Two and a Half Questions with Beta Cloud

myspace.com/thebetacloud | betacloud.com
myspace.com/laughingbride | laughingbridemedia.com

Corey Fuller - Seas Between (Dragon's Eye)

Opening in mist, with disassembled activity both hidden and continuous, Seas Between is a work containing the solemnity of temporality, trembling tenderness, and the brightest side of sightless imagination. Corey Fuller was born in the United States, but while still very young, he relocated with his family to Japan, where he spent the next 20 years, before returning to the United States to live in Washington state. December 2009 marks the release of his first solo album, and his return to Japan with his own family, to live and work. The album represents both a literary and imaginative vision of home and the distances between, a document of the placement and creation of a convolved third-culture reality. Seas Between was created using an expansive assortment of acoustic instruments, including piano, prepared piano, Rhodes electric piano, pipe organ, pump organ, vibraphone, pianica, accordion, acoustic/electric guitars, Gamelan bells, Thai finger cymbals, assorted percussion, and found objects. Field recordings were given delicate attention, including room tones, contact microphones, hydrophone recordings of both shores of the Pacific Ocean, field recordings from Japan and Washington, reel to reel tapes, cassette tapes, and analog tape delays. Custom software was also employed to create a convolved, indeterminate blend of instruments. In addition to the above mentioned palette, a group of collaborative musicians contributed work, such as John Friesen on cello, Tyler Wilcox on saxophones and bass clarinet, and Tomoyoshi Date on piano and electronics. Their contributions further complete a graceful warmth, to an already startlingly pronounced recording of poetic allusion, uncertain acceptance, and hazed mystery. Throughout the 45-minute work, clarity is demonstrated through swelling, warm tones, acute instrumentation, combined with the chill of the ocean breeze, and the indistinguishable traits of swirling, impermanent images. Beside crisp crescendos of the early morning dawn, foamy field recordings are hidden in the fine clouds; a formed, thin film, hidden in winter's winds. In Seas Between, here falls the shadow, between essence and descent, longing and fulfillment, wholeness and brokenness. The sense of separation and constant longing is ever-present, in our surroundings that are unwavering, but often unpredictable as the sea.

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Seas Between is released by California based Dragon's Eye Recordings, owned and operated by Yann Novak. The above text was written and contributed by Will Long, who along with his recently departed and dearly missed wife, Danielle Baquet-Long, released numerous albums as Celer.

See also Two and a Half Questions with Corey Fuller

Alva Noto + Ryuichi Sakamoto with Ensemble Modern - utp_ (Raster-Noton)

Alva Noto and Ryuichi Sakamoto are unquestionably among the masters of modern experimental music. Noto has crafted a musical language all his own based on the most elemental of sound sources - electricity, static, white noise - and helped to raise laptop production to new heights. Sakamoto has such a varied an brilliant career, ranging from his days in the pioneering Yellow Magic Orchestra and his Neo Geo Japanese pop, to bossa nova, classical works and majestic film scores - including the unforgettable theme from Merry Christmas Mr. Lawrence, in which he also starred opposite David Bowie. And, of course, his explorations in electronic music where his collaborations with artists like Fennesz and Noto stand as milestones. The release of a major new work from the duo is noteworthy to say the least. Utp_, the third collaboration between Noto and Sakamoto, opens with a sustained electronic tone that is gradually joined by a cello note to form an electro-acoustic drone. On top, a series of angular jabs from the Ensemble Modern string section combine with rhythmic bursts of white noise from Noto. Sakamoto's muted piano is introduced on track 2, "grains", but is much less prominent throughout than in the duo's previous collaborations. The piano is only out front on a couple of tracks - "grains" and "broken line" 1 and 2 - which also happen to be the most melodic and easily approachable tracks on the disc, bubbling along to Noto's delicate microbeats. Like the previous collaborations, utp_ blends together electronic and acoustic sounds to hair-raising effect. The contribution of Ensemble Modern, one of the world's leading ensembles of 'new music', adds dynamism and breadth to the sound pallet but the tone is not so far removed from the intimacy and melancholy of Insen, the duo's last full-length release from 2005. The most striking difference is that while the previous outing centred on Noto's laptop treatment of Sakamoto's piano, here it is the Ensemble - particularly the string section - that is most prominent. There's a sombre intensity to the music, which blends modern classical with experimental electronic music in a way that bridges the divide between past and the present. The piece was commissioned on the occasion of the 400th anniversary of the city of Mannheim in Germany and at times the deep and vibrant cello tones seem to be calling from that distant past. But most of the time the Ensembles' instruments are employed to produce sounds that are far removed from the 'classical' conception of music, melding seamlessly with the bleeps and glitches of the present in a way that feels completely organic. On tracks like "silence" and "particle" 1 and 2, the result is a blanket of ambient sound while on "plateaux" 1 and 2 the electro-acoustic drone is all encompassing. The title of the piece, utp_, is derived from the word "utopia" and the concept that Sakamoto and Noto developed for it is derived from the rasterized structure of Mannheim, which was conceived as the "ideal city" in the 17th century. This and more is explained in the documentary film on the development of the piece, which is included along with the utp_ concert movie on a DVD that accompanies the CD. So far I've only had a chance to listen to the music but it looks like the DVD provides a lot of insight into the development of the piece and the way Noto and Sakamoto work. I can't wait to get my hands on it. Also included in the impressive package, which is indeed worthy of the music, is a full colour booklet and the score. Utp_ is another feather in the cap of these two masters of modern experimental music and one can only hope that there is more to come.

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Original review posted by Tigon on Tigon World.
Republished with permission of the author.

alvanoto.com | sitesakamoto.com
raster-noton.de

Intrusion - The Seduction Of Silence (Echospace [detroit])

The dub sound of Intrusion is like an early stroll along the empty beach. Waves of white noise and minor chords splash and bounce against the glistening, polished, and rolling bass. The rhythm is measured, natural and hypnotic. The background four-four beat creates a trance-like experience. And the overall emotion is indeed seductive. Although the formula behind the production builds up on the previous successful sound of Echospace, the warmer side of the duo perfects the minimalism by injecting a fusion of Jamaican and South African dub. And it works. I could listen to this album over and over, like a head cleaner, after dense days, heavy nights and exhausting people. The minimal dub techno sound of Intrusion no doubt belongs to none other than Stephen Hitchell, one half of the above mentioned Echospace, who along with Rod Modell froze our hearts with The Coldest Season (Modern Love, 2007). Where as the latter critically acclaimed album captured the lower spectrum of the virtual thermometer with swishes of wind and falling snow, The Seduction Of Silence is more than a few degrees warmer. This is indeed a lovely twilight stroll under the ocean. The album is the first full length solo release for Hitchell, inadvertently compiling previously released EPs and 12-inchers. This may, perhaps, be an answer to a solo release by Modell, Incense and Black Light (Plop, 2007), with Hitchell taking his turn to demonstrate his individuality. The album welcomes an appearance by Paul St. Hilaire (Tikiman), where the Dominican artist contributed reggae vocals. The tracks morph into one another with swells of white noise, sometimes clocking in at over 11 minutes long. Tswana Dub is perhaps one of my favorites, having previously appeared as a limited 12" on Intrusion's sub-label of Echospace. Recommended if you appreciate the sound of minimal dub from Modern Love and Basic Channel, as well as Yagya, Gas, and of course, DeepChord Presents Echospace. Last minute edit: be sure to pickup the latest release on Echospace [detroit] by Brock Van Wey (aka bvdub) titled White Clouds Drift On And On. This is a double disk release with the second part full of Hitchell's interpretations of Wey's original works. Truly sublime. Back to back!

myspace.com/echospacedetroit | echospacedetroit.com

Celer - Engaged Touches (Home Normal)

Once again it is tough for me to write a proper review. At most I feel as if I'm paying homage to a passing soul from one realm to the other. As if I'm finally saying these words a little too late. As if the words can fill an empty space for an unfulfilled obligation of an unfulfilled life. But, of course, it is the opposite of that. With these words I am only spreading the love which is already abundant through the music of Celer. Music that is wordless. Free of time and space. And as Danielle Baquet-Long continues her journey from this plane towards the unknown of the other, and her husband Will Long remains with us to wrap up the unfinished, may these words speak the speechless as the music goes on. Dear Dani... Thank you for all the little gifts. Thank you for music that can not be wrapped or packaged. You will always be with us. May you rest in peace.

. . .

On Enaged Touches the husband and wife duo digitally stretch the loops of field recordings and analog samples of ambient strings and minimal distant pads. The creative use of delays blending into almost metallic reverb resonates the sound beyond its cycling waves. As the beatless drony chords morph into deep vibrations of bass, swelling in dynamics along with my emotions, the sound rolls over my head towards my chest and then slips through the cracks in between the walls. At times, there is silence which is followed by an onslaught of frequencies reminiscent of chemicals flooding your brain. Recordings of passing trains bridge the creatively named passages by Danielle that touch the tear glands, and jerk the nerves with titles such as "A Once And Meaningful Life". Or the lengthy leaps of imagination with a title like "Hanging Herself On The Lonely Fifth Column (Gramophones That Remind Us Of What Sounds Once Were)". Yes, the latter in the double quotes is a single titling of a section within the two tracks of the album. The first at twenty-six minutes, and the last at fourty-and-a-half. The album cover features photography by Danielle during her journey through India. Will and Dani started writing music for each other. Sharing their love first through letters, and then through little gifts of sound, they self released over twenty five recordings, some digital only, some beautifully crafted in hand painted packaging. In 2008, Celer collaborated with Mathieu Ruhlmann on Mesoscaphe that got picked up by the Japanese minimal experimental label, Spekk. 2009 saw the duo release work on Dragon's Eye, Smallfish, and Digitalis Limited. Engaged Touches got picked up by Home Normal, a label specializing in minimal and organic sound. Started in 2009, the label has already released recordings by Library Tapes, The Boats, and Christopher Hipgrave. On July 8th, 2009, Danielle Baquet-Long passed away from heart failure. At only 26 years of age, Danielle has released numerous works under her solo moniker, Chubby Wolf. She is known for her poetry and writing, and of course as one half of Celer. A few months ago, in March 2009, I got to meet and interview the duo at the Los Angeles Resonant Forms festival. The audio interview has finally been transcribed and posted here, on Headphone Commute. The overall album is a true masterpiece. Among the many albums that I heard, Celer's Engaged Touches is the most emotional. Highly recommended if you appreciate works by like Taylor Deupree, William Basinski, and Richard Chartier. Be sure to pick up a free release by Chubby Wolf, titled Meandering Pupa available as a free download from bandcamp (click here). As well as the latest album by Celer, Breeze Of Roses out on Dragon's Eye. Spekk is yet to release another album by Celer, which is still in the queue...

Read Conversations With Celer only on Headphone Commute.

myspace.com/celersite | artificialcolors.blogspot.com
myspace.com/homenormal | homenormal.com

VA - Sound of Slow Flow Vol. 1 (Slow Flow)

The shadows recede into their coldness. She shows up this morning. With her light breeze and the blue skies, Spring begins another cycle. The light synthetic chirping in my headphones joins that of the birds. And they all sing. On the train, I read Haruki Murakami's Dance Dance Dance (1994). The atmospheric swells and the ambient drones are the perfect soundtrack to the novel. All the more appropriate, since this disc arrived from Japan. On this compilation, Sounds of Slow Flow Vol 1, ten various artists contribute tracks that express their image of a "slow flow". Each is delicate and unique in its own way, but this conceptual theme joins the album together unlike any other scattered sampler. With this first release for Sapporo, Hakkaido-based Slow Flow Records, the label enters the minimal ambient scene with an eclectic roster of artists. This ethereal movement in between space and stillness is collectively comprised of compositions by Pawn, Celer, Ryonkt, Cloudburst, Elian, Segue, Porzellan, Glenn Ryszko, Entia Non, and Ian Hawgood. One of the familiar names on this bliss saturated collection is Celer, a husband and wife duo, with a deep discography, and the second release for this label, Cursory Asperses (Slow Flow, 2008). Compiled by Ryo Nakata (Ryonkt), the 70+ minute journey will take you through textures and tones designed to complement the impossibly persistent soundtrack of the daily life. Current Slow Flow releases include the above mentioned album by Celer, an album by Misound, Stanze di te, and an upcoming album by Jordan Sauer (Segue), Into the fall. Recommended if you prefer meditative sound over silence during any activity, except useless rambling thoughts. Filed under ambient and experimental releases, along with titles from 12k, Room40, Dragon's Eye, and Spekk. Looking forward to all future releases.

myspace.com/slowflowryo | slowflowrec.web.fc2.com

Alva Noto - Xerrox Vol.2 (Raster-Noton)

Alva Noto returns with a second installment in his five-part planned Xerrox series. On this follow up to Xerrox Vol. 1 (Raster-Noton, 2007), Carsten Nicolai turns up the volume in static electricity working with the concept of copying sounds. A copy of a copy of a copy in digital format may be flawless, so what does Nicolai do? For this feat, Nicolai along with Christoph Brünggel created a "sample transformer". This software manipulation device downsamples, chops and fragments the original source, until it no longer resembles itself, becoming an error prone original, becoming a copy corrupted with noise, becoming a newly created entity in itself. Here's Nicolai, giving us a little more color on the second volume on the label's website: "xerrox vol. 2 undertakes an intense journey and affords the luxury to take its time. while xerrox vol. 1 (r-n 78) referred to the ‘old world’ with its tradition deeply rooted in classical music, xerrox vol. 2 tries to access a ‘new world’. it works with samples that have been gathered and developed in the usa – the so-called ‘new world’ – where the album also has almost completely been recorded. the dramatic and dynamic approach of xerrox vol. 1 on vol. 2 has been replaced by a structural density. instead of working with individual musical entities the new album rather develops an overall, linear aesthetic that refers to musical strategies of film music. hence there are no implicitly singular pieces, but open musical structures – a journey without a predetermined target." On Xerrox Vol. 2, Nicolai turns to a roster of contemporary musicians, including Michael Nyman, Stephen O'Malley, and Ryuichi Sakamoto. This volume of work is more musical and warmer, while at the same time noisier and metallic. Organic instruments are re-sampled and drenched in scattered white noise, washed out with waves of bitcrushing storms, and pierced through with needles of errors. This is not a sound of a stretched magnetic tape. This is a sound of a laser disk passed through a Hollerith punchcard machine, stamping out valuable bits of binary data, daring your brain to fill in the rest. Strip away the conceptual process, and we are left with beautiful dark ambient and modern classical pieces that are haunting and melancholy in their nature, to the likes of Jóhann Jóhannsson, Max Richter, and Fennesz. Highly recommended if you enjoy the releases from the acclaimed Roster-Noton label. Make sure you pick up the first volume and watch out for the upcoming releases to complete your set. By the way, expect the entire set to spell XERROX through cover art, as the virst volume displays letter 'X', and this one, if you look closely, are letters 'E' and 'R'. While you're shopping around, I recommend you also pick up Alva Noto's Transform and Unitxt. Oh, and one last thing. Make sure to grab Byetone's Death of a Typographer and Kangding Ray's Autumne Fold.

myspace.com/alvanoto | alvanoto.com
myspace.com/rasternoton | raster-noton.de 

Lissom - Nest of Iterations (Dragon's Eye)

Descending down a steep slope, I slowly enter a cavern populated with dripping stalactites, swinging wind chimes, and wondering whispers. The dark atmosphere soaks up the humidity of a distant buzzing organism and spews it out through DSP filters and control voltage modulated synths. Through repetitive patterns, nested recursion, and looped iterations, Lissom experiments with data-structure-precise evolving soundscapes, that compile and burst into tiny binary sonic fragments, binding themselves to receptors in the membrane of the synapse. This purely ambient and atmospheric work is built on field recordings, acoustic sources, and synthesized sounds, all pulling me farther, deeper, and away from the perceived reality. In this cave I sit for hours, contemplating the harmony of the spheres and the dissonance of our souls. While the nature lives in agreement, the humanity is polluted by one unconscious thought: "I am not enough". With this exploration of sound, I descend to the most sacred base, where I am everything that I could ever be, one with being. Tana Sprague is an Oakland, CA based sound and video artist, releasing her debut album on Dragon's Eye Recordings under the Lissom moniker. Sprague's intention behind her work is indeed to "manipulate awareness of time, space, place, and scale." Her goal is accomplished through measured tones and hypnotic beatless rhythms. "Inspired by the elegant complexity of organic forms, she utilizes various electronic and digital devices to synthesize a similar enveloping intricacy". On Nest of Iterations, Sprague demonstrates her complete control of sound design, which she no doubt perfected through her studies in Interdisciplinary Computing and the Arts at the University of California. Nest of Iterations is an excellent addition to Yann Novak's collection of works on his Dragon's Eye Recordings label. Released as a 250 limited edition 5" CD-R, this work will surely become a sought after collector's item to those marveling in the works of Carsten Nicolai (Alva Noto), Taylor Dupree, Richard Chartier, and Evan Bartholomew. While browsing the label's catalog, don't forget to check out the work by Yann Novak, Marc Manning, Steve Peters, and previously reviewed Kamran Sadeghi.

myspace.com/01lissome | sensory-perception.net
myspace.com/dragonseyerecordings | dragonseyerecordings.com

Ø - Oleva (Sähkö)

You would think that by being one of the prominent sound engineers and pioneers in experimental music since 1993, Mika Vainio would have run out of steam. You would think that numerous copy cats would push his sound design into obscure corner of just another knob tweaking artist. You would think. But Vainio treads on. Currently residing in Berlin, Vainio is a prominent member of the acclaimed Pan Sonic duo (with Ilpo Väisänen). And besides his more established minimalist alias, Ø (pronounced "ohm"), he has also released under Kentolevi, Tekonivel, and Philus monikers - check out the Kolmio EP on Sähkö for the latter. Speaking of the label. Helsinki based Sähkö (which stands for "electricity" in Finnish) has built up a respectable catalog of abstract, minimal, and experimental releases since its launch in 1993 [same year that Detroit's Basic Channel was launched]. These are mostly featuring the output of various projects by Vainio and Väisänen, with an occasional release by Jimi Tenor, and a 12" by Mike Ink (Wolfgang Voigt). It also manages a handful of sub-labels which include Jazzpuu, Keys Of Life, and Puu (means "wood"). But back to Oleva ("The Existing") which features the familiar signature of Vainio's style of digital wire hum, low rumbling saw-tooth distortions, dark industrial stabs, and pounding minimal beats. Although the album features a few purely ambient tracks, as well as a couple of abstract drony explorations, the proliferation of tight rhythmic components make this release a more headphone oriented experience [as opposed to an archive of an experimental audio installations]. Oleva is is an ongoing exploration into noise and silence alike. Yet another excellent addition for the avid minimalist collector. It's delightful to see that Sähkö keeps on printing just the quality stuff. Make sure you are well familiar with Ø's classic Metri (Sähkö, 1994). Recommended if you love Gas, Autechre, anything from Basic Channel, and of course Pan Sonic.

myspace.com/electronicsquelches | phinnweb.org/vainio
sahkorecordings.com | phinnweb.org/sahko

Original post on headphonecommute.com

The Sight Below - No Place For Us (Ghostly)

Entering the domain of ambient techno producers, is a newcomer by the name of The Sight Below. Ghostly didn't think twice (and better for it), and snatched TSB for his first three-track EP, titled No Place For Us. The fact that I'm even taking the time to mention a digital single should tell you how excited I am about the upcoming work from this Seattle based musician [yes, I like to pretend that I'm very busy ;) ]. And before I forget to mention - this is a free release, so go download your copy directly from the label's site. During the first track, No Place For Us, the ambient washed out sweeps yawn and stretch in swells of shoegazer's agonizing obsessiveness over thick guitar and pad layers. The tonality of these resonant chords remind me of Lusine Icl's Language Barrier (Hymen, 2007) and Murcof's Cosmos (Leaf, 2007). Soon enough the kick drum comes in over the lazy vapors of sound. Like the soothing whispers of a river flowing through the dry lands, pumped by a steady heartbeat of the earth. I quote when I can't say it better: "The music of TSB conjures half-remembered dreams and soft-focus sentiments with elegiac beauty; his video art works similarly, blurring snippets of film until they're recognizable only as organic objects: black-and-white amoebas milling about, or a sunset rendered in grayscale." The knowledge that the three pieces were performed live, only excites my neurons further. Really looking forward to The Sight Below's first upcoming full length release on Ghostly, so that I can stop looping only these three tracks! Recommended for the likes of Yagya, Gas, Vladislav Delay and Echospace.



myspace.com/thesightbelow | ghostly.com/artists/the-sight-below
myspace.com/ghostlyinternational | ghostlyinternational.com

Kamran Sadeghi - Through Thickness (Dragon’s Eye)

Exploring the rhythm beyond its regular structure is the main objective in this abstract and experimental album by Kamran Sadeghi, titled Through Thickness. Like little insects beating their wings against an aquarium where rabid fish circle the dying microphone, the sharp frequencies in the swirling noise of clicks is just one image floating to the surface in this harmonically deprived composition. Sadeghi "draws from [the sound's] potential palate of sonic mass, color, and points in space in order to create compositions of aural depth perception and sculptural form." Through Thickness is a first album in Sadeghi's Kha series. Sadeghi explains on his site: "'kha' is an ancient Hindu [Sanskrit] word meaning "emptiness" which was used in early numerical systems to imply space in tabular arrangements, 'zero'". In the digital twist and decomposition of rhythm, that emptiness breathes on its own. The electronic circuitry of sound pulses and twitches in a final dance of death. Sadeghi's curriculum vitae of audio and visual live performances and installations include OkOk Gallery, The Henry Art Gallery and the Decibel Festival. This is my first taste of material from Dragon's Eye Recordings, an independent label out of Seattle, focusing on experimental, textural, ambient, drone and minimalist recordings from an interesting roster of artists, releasing limited edition albums. In that sense, I place it somewhere around Touch, 12k, Sähkö and Raster-Noton. Definitely a label to keep your eye on. Through Thickness is very much in the spirit of Alva Noto, Pan Sonic, and the darker side of Autechre. For a more musical side of Sadeghi, check out his side project, Son of Rose, with multiple releases on Dragon's Eye.



myspace.com/kamransadeghi  |  kamransadeghi.com
myspace.com/dragonseyerecordings  |  dragonseyerecordings.com

Kangding Ray - Automne Fold (Raster-Noton)

An amazing array of releases from Raster-Noton can drain any serious collector's wallet. My latest search includes the twelve super rare twenty-minute monthly releases titled 20' to 2000, and I highly doubt that I'll be able to score it for anything less than a thousand bucks. Oh well... So instead I'll give myself a present of Kangding Ray's sophomore release, Automne Fold. And the album more than satisfies my experimental, organic, and dark rhythmic cravings. Kangding Ray is an alias of Berlin based David Letellier who creates synthetic, glitchy, and yet very musical compositions of analog tones, micro-programmed beats, and digital errors. Letellier's musical experience includes being a guitarist and a drummer for a band with rock and jazz influences. Stacking against his electronic music design is his diploma in architecture - perhaps Letellier erects and demolishes soundscapes in the same way. The sound of Kangding Ray is not as minimal as the usual roster of Raster-Noton (e.g. CoH, Ø, and the label owner, Carsten Nicolai). It is still experimental, super intelligent, yet at the same time very listenable - I found Alva Noto's Xerrox Vol. 1 conceptually very fascinating, but for some reason the album did not remain in my rotations. Kangding Ray, on the other hand, seems to fit more along his contemporaries, like Hecq, Subheim, Kattoo and Murcof. There are even lyrics in some of the "songs". Perhaps Automne Fold will create a gateway into the label's catalogue for listeners with a less sensitive ear. Be sure to pick up Kangding Ray's 2006 release on Raster-Noton, titled Stabil. Highly recommended. Makes my Best of 2008 list so far...

myspace.com/kangdingray | kangdingray.com
raster-noton.net

Renfro - Mathematics (Meltwater)

The recipe for Renfro requires a variety of carefully scavenged ingredients. Locate field recordings of wild animals and sonic atmospheres. Add fragments of material ranging from NASA feeds of deep space to burning credit cards. Mix in some static, glitch, and a pinch of distortion. Now slowly fold in a melancholic melody and Tim Branney's hushed falsetto voice as he sings intricate lyrics over Atom-James Draper's electro-acoustic manipulations. That's Renfro, "meld[ing] experimental electronic musical techniques with dream-pop songwriting", and doing a damn good job at it too. I'm not big on vocals (haven't I said that before?), (I think it's something to do with constrained concepts), (or perhaps the forced structure of a 'song'), but Renfro breaks out of boxed rules and layers voice as another instrument over ambient soundscapes and light percussion fused from cliky flippity-flop bleep lo-fi pops. The duo formed in late 2005, and is based in East London and North Devon, where they have been playing with microphones and "poetics of isolation, difference and collapse". Along with the release of Mathematics, Meltwater Records will also promote with two remix EPs with contributions from Marsen Jules, Porn Sword Tobacco, AGF/Loeb and Christian Fennesz [that alone should excite your appetite!]. The instrumental sound is reminding me of Xela, Skyphone, Julien Neto, and Swod. Like Thom Yorke singing over William Basinski with dying circuits driving the beat. Favorite track: Half-Life Of Happiness.

myspace.com/renfromusicspace
myspace.com/meltwaterrecords | meltwater-records.com

Julien Neto - Le Fumeur De Ciel (Type)

I've been listening to Julien Neto for a couple of years now, since his debut Le Fumeur De Ciel came out on John Twells' (Xela) beloved Type Records. So it is way overdue for a proper review. Especially since lately the album keeps popping up in my rotations again. Not much is known about an artist producing these surreal, ethereal, insomniac lullabies. We know that Julien lives in Paris, and has produced other [unknown] works under many monikers. The latter is not surprising, since the music on Le Fumeur De Ciel is clearly produced by a season artist. Two tracks on the album feature samples by Keith Kenniff, also known for his work on Type under Goldmund and Helios. Personally, I wouldn't be surprised if Neto turned out to be Kenniff's alter ego, but then again, Neto's site is hosted on inpuj.net - home of Proswell. I have confirmed though, that Julien Neto is indeed his real name, and that Kenniff and Neto are different people ;). So really, the mystery behind the real man remains. And the mystery works well with the hazy smoke rising slowly into the sky. The sound is melancholic, cinematic, and without a doubt, modern classical. There is hint of suppressed memory that is bubbling up to the surface in another form of water that can not be turned to tears. The acoustic instruments are in turn consoled by their digital counterparts, within the pieces of a molded program music. Type extrapolates: "Neto based part of the record on the poems of Keats finding a kindred spirit in his deep and moving romanticism." Closing your eyes, you too, will draw on the special images within you. Bring this album back for another spin, if you like Max Richter, Colleen, Susumu Yokota, and Sylvain Chaveau. Favorite track: Voy.

myspace.com/julienneto | jules.inpuj.net
myspace.com/typerecordings | typerecords.com

Claro Intelecto - Metanarrative (Modern Love)

After four volumes of Warehouse Sessions and a few additional twelve inchers on Modern Love, Mark Stewart releases his sophomore LP on the same label. Stewart began his Claro Intelecto project in 2003 on Manchester's IDM label, AI, with a Peace of Mind EP. He quickly followed the release with the acclaimed Neurofibro (named after his genetic disease). Metanarrative is more melodic than the preceding EPs, centered around deep bass groans and minimal grinds building up the postmodernist grand narrative. Stewart infuses the Detroit influenced UK beats with his IDM and electro background, creating an album that spans the sub-genres from dub techno to tech-house. This sound falls somewhere around cold warehouse nights and deep underground lounges, where the walls vibrate with bass, killing all the vermin in the process. In Neurofibro, I found myself attached to a handful of glitchy tracks on the wavelength of Arovane, Nautilis and Tipper. This time, Stewart has left his experimental touch in the past, and in Metanarrative we're only offered the straight up four-to-the-floor beats. The bpm doesn't scour or trot, instead it bathes in its leisurely rhythm. Combine that with a short album playtime (40 min), and you find yourself hitting play again after eight tracks. Recommended if follow Ricardo Villalobos, Alex Smoke and Lawrence.

claro-intelecto.com | myspace.com/claro_intelecto
modern-love.co.uk

The Field - From Here We Go Sublime (Kompakt)

Slapping the terms like "trance", "minimal", and "techno", may quickly dismiss this album's true essence. But these labels shine some truth on what the music has to offer. The album undeniably employs 4/4 rhythm, which, I suppose, classifies it as techno; its minuscule musical progression begs for the minimal adjective; and its repetitive and hypnotic structure, no doubt puts people into trance. But that's just on the surface. Beyond the deeper layers, Axel Willner, who goes by the name The Field, employs tiny sampled, hiccuped, locked loops, that create the music all on their own, as if the needle was stuck in skipping groove. Yet, From Here We Go Sublime is not a banging stomp of grinding beats that you may imagine it to be. In fact, it is relaxing and surreal; it is a child of ambient and techno; it is sublime. Landing the album on Kompakt Records couldn't be more appropriate for Willner. The German label has released numerous minimal gems in the past years, from Thomas Fehlmann, Gui Boratto, Klimek and Richard Voigt. And who could deny Kaito's skillfully approach to simplicity in his Hundred Million Light Years. The reviews you may find on The Field are mixed. It may seem that skill is underplayed, when loops go on forever with barely any manipulation, as if an amateur discovered the fun in Ableton's sample locking, layering and filters. But it is that minimal progression, the buildup without the dynamics, the riding trip into narcotic fractal, that works well for Willner, time and time again. My favorite track is A Paw In My Face, because at the end it becomes "unstuck" and my brain unplugs as if the switch flips off in my electric chair.

myspace.com/thefieldsthlm | garmonbozia.se/thefield
myspace.com/kompakt | kompakt-net.de

Loscil - Plume (Kranky)

Vancouver based Scott Morgan is a sound director within the video game industry. But that's his daytime job, and his contemporary ambient soundscapes constructed with looping oscillators (a similar function in Csound computer language is compounded to Loscil) don't have much in common with game music. In contrast, Morgan's fourth album Plume, on Chicago's Kranky Records, is a relaxing, atmospheric, and hypnotic trip unfolding layers of sound complimented by ethereal percussion, gentle xylophone taps, and strums of elbow guitar. For Morgan, the creation of music starts "with a harmonic root from which sounds [are] processed into a loose structure over which the live players could improvise". Each track within the album grows, transitions, and gradually develops into a piece bestowing a specific state of mind or a flashback to a concrete memory. A quote from Morgan's elaboration on a piece capturing the growth of family, if you will: " 'Charlie' was composed after seeing/hearing my daughter Sadie through ultrasound while she was still in the womb. The track was also partly composed as a womb-like sound experience for her to sleep to after she was born, hence the heart beats..." Recommended if you like his ambient label mates, Stars of the Lid, or other excellent artists in the modern classical genre, like Deaf Center, and Xela. Favorite track: Bellows.

myspace.com/loscil | myspace.com/krankyltd