2562 - Aerial (Tectonic)

Twenty-five sixty-two is not just a postcode in The Netherlands' Den Hague - it is also an alias of its resident who is a prolific producer of dubstep, techno, and broken beat atmospherics. Dave Huismans's first full length release on Tectonic under 2562 moniker is titled Aerial. Tectonic is the same label that previously brought you the 12-inchers from Pinch, Skream, and Cyrus. On Aerial, Huismans layers dubbed out minor chords on top of the blowing wind of white noise and deep sub-bass enriched syncopated beats. The rhythm bounces between a Detroit-meets-Berlin techno sound and reverb heavy dubstep, creating tunes geared more towards home listening then as the fillers on the dance floor [not that hearing these tracks booming on a loud sound system would be unappealing].With his own personal style, Aerial is more of an album then a compilation of singles. The tracks work well together, wrapped around the concept the same way Burial delivered the unmistakable sound of Untrue. One thing for sure - this isn't the sound of London. That is to say, that it seems to have more in common with minimal dub techno then the filthy bass ridden dubstep hooks. Both styles are excellent - just depends what you're in the mood for at the moment. And this very instant, I need to be chilled out and at the same time warmed up, keeping the evil grin away. At the end everything is just a matter of taste. And there's only one way for you to find out.For more music from Huismans, check out his two side projects: a few EPs on Subsolo Records as A Made Up Sound; and earlier released jazzy broken beat EPs on the Dutch Flyin' High Records under Dogdaze alias. Recommended if you want to hear dubstep with some Modern Love and Basic Channel feel.

myspace.com/2562dub
myspace.com/tectonicrecordings

BLÆRG - Dysphoric Sonorities (Bottle Imp Productions)

Since the good ol' days of Squarepusher's jazzy idm breaks, laced with jungle flavored drill'n'bass, I've been nostalgic for that fading away sound. Even Venetian Snares modern-classical-meets-breakcore masterpiece, Rossz Csillag Alatt Született (Planet Mu, 2005), is now almost four years old. Has the genre put on an angrier mask and turned to gabber-heavy random-triggered mayhem? Where are those melodically driven themes complimented by intelligent macro programmed precision percussion? Or maybe I'm just not looking in the right places. Feel free to turn me in the right direction.Imagine my surprise when I landed on BLÆRG. This Ohio (US) based producer is everything mentioned above and more! [Yes, exclamation point is really necessary at this point]. Scott Wehman is not exactly a newcomer to the scene. Initially playing bass guitar for a few local metal bands, Wehman turned to producing electronica. With a few digital releases and a full length, Sesquipedalia (FromTheGut, 2007), Wehman joined Detroit stationed Bottle Imp Productions' roster, and opened up with a his sophomore album, Dysphoric Sonorities. Following this release he put out a very lovely limited EP [only 50 copies!], Auspices & Vagaries (Bottle Imp, 2008) and a collection of earlier tracks [presumably traded over the slsk network], Soulseek Days (Bottle Imp, 2008).On Dysphoric Sonorities, Wehman cleverly masters all of the beloved elements of intelligent breakcore - from jazzy keys, to bass slaps, to piano chords, to acoustic percussion drilled and glitched out to perfection. And there is enough evil in there to satisfy the angry rats scratching at the surface of the inside of my skull. Oh, and did I mentioned that production is top notch? Highly recommended along with the EP (if you are one of the lucky ones to get your dirty paws on it), if you like above mentioned names, plus Xanopticon, The Flashbulb, Enduser, Igorrr and Wisp.

myspace.com/blaerg  |  fromthegut.org/blaerg
myspace.com/bottleimpproductions  |  bottle-imp.com

Two and a Half Questions with Blaerg

I read that Blaerg is an anagram for 'garble'. How did you come up with this name?
Quite honestly it was a nonsense word i uttered once while yawning. My wife found it to be extremely funny so it became an oft-repeated thing around the house. So the word was drifting around in my head about the time I started toying with the idea of production, and once I started creating tracks and using it as a moniker (It was one certain way to ensure I wouldn't end up with a duplicate name - who would want to use that stupid word?), I was told that "blarg" was onomatopoeia for vomiting in the Norwegian language. It was also an excuse to use the ash grapheme (Æ) for no reason at all, other than it looks cool. After years using this name, a friend pointed out that it was an anagram for "garble" (Pria gets credit in the Dysphoric liner notes). An anagram is a rearrangement, garble means rearrangement, my music is an exercise in rearrangement - perfect!

I found your limited EP, Auspices & Vagaries, to be a lot more musical then the darker Dysphoric Sonorities. Would you agree? And which one of these styles of breakcore do you enjoy making the most?
I would say Auspices is more directly melodious, but not more musical. I always think of certain things I would like to accomplish with my tracks, but I find my attempts usually fail completely and I end up with some other strange result that is equally, if not more, pleasing. I think some people can have a mental conception of a track and then execute it, but this is not something i'm able to do. Instead I merely collect a disparate amount of elements together and see if they pastiche favorably. I trust this process and let the samples tell me where they'd like to go. So, the most enjoyable part of the process is after all the samples have been collected and loaded into the sequencer and the first melodies are constructed. There is a "eureka!" moment where I think "this will work!" and then I proceed to flesh out the tune, which is a very energizing and life-affirming activity for me.

So is that live bass guitar that I'm hearing on some tracks? What about percussion? Where do you get your drum samples from?
Nope! Recording is a whole extra process that I find tedious, so I prefer to glean samples from whatever happens to cross my ear, which is as often music I love as it is music I loathe. I am especially enamored with "clean" drum sounds from dry-sounding jazz recordings, but anything is fair game: sample packs, horrible commercial pop music, death metal, ethnic sounds.

Who are your musical influences, and who would you like to collaborate with in the future if given an opportunity?
I will state for the record that my favorite album of all time is Atheist - Unquestionable Presence. It has energy, technicality, diverse and quick-changing ideas, supremely executed musicianship, incredibly catchy melodies... it is an endlessly inspiring work for me. I also get a lot out of the "big" melodies of Frank Zappa. I wish I could write melodies like that, they just well up a huge emotional reaction every time. I have collaborated in the past with other projects, but for BLÆRG I prefer to control all aspects of the process. I'll likely stick to that method for the foreseeable future.

What are you working on right now?
A bachelor's degree in social work, hahaha. It is strange to take a break from producing, but I have some other areas of life that need attention right now and the remaining time isn't sufficient to work on music properly. If I never complete another BLÆRG track I can feel satisfied about the past work, but I fully intend to continue on with the project at some distant point in the future.

myspace.com/blaerg  |  fromthegut.org/blaerg

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

Label Profile: Tympanik Audio

In 2009, Headphone Commute introduces two new features. First of all there is our new and exciting revamped site with a better layout, navigation, and blah blah blah. And then there is a whole new Label Profile feature! First up is an excellent interview with Paul Nielsen, the head of Chicago based Tympanik Audio, which within only a year and a half has already established itself among the rhythmic noise, experimental downtempo, and dark idm scene. This interview is republished courtesy of Quark of Arrhythmia Sound, who I'm sure will appear as a contributor on Headphone Commute again in the future. Did I mention that we launched a new site? :)

Read Label Profile: Tympanik Audio on reviews.headphonecommute.com

Christopher Bissonnette - In Between Words (Kranky)

Here's another winner for Kranky, a Chicago based label that has been releasing outstanding material from Pan•American, Deerhunter, Stars Of The Lid, Loscil, Atlas Sound, Benoît Pioulard, and Valet, just to name a few. In Between Words is a sophomore release for Canadian based Christopher Bissonnette. And what a sonic treat it is! The warm layers of sound blanket the microscopic hair cells within my cochlea and gently sway them with precision controlled sound pressure. Half way through the first track an itch develops deep within my auditory canal, but I simply can not scratch that deep. Tiny white-noise artifacts crackle through the thick orchestral pads, like distant lightning in the muggy summer. But the thunder never breaks. Instead it stands still, simply just there, quietly revealing its presence, forcing you to accept. Accept this, and everything else that is currently around you. In Between Words is a collection of Bissonnette's works exploring special acoustics and integration of field recordings. Through six purely ambient and minimalist tracks, Bissonnette experiments with found sound and the empty space found in between. "Inspired by the continuous din, the constant low-level hum of urban background noise, interspersed with all manner of mechanically created sounds, Bissonnette finds in this a near-melodic soundtrack to his daily life." The organic swells are based mostly on symphonic instruments as well as macro synthesized frequency rich sound waves. As such, I find this beautiful composition much plausible to the soul, then the external background sounds of our urban environment. I almost wish that some public transportation authority would publicly broadcast this music during my morning commute. Until then, there are always headphones. If you enjoyed this album, be sure to seek out Bissonnette's debut album, Periphery (Kranky, 2005). Recommended if you follow works by Philip Jeck, Tim Hecker, Machinefabriek and Stephan Mathieu.

myspace.com/christopherbissonnette | christopherbissonnette.ca
myspace.com/krankyltd | kranky.net

Two and a Half Questions with Christopher Bissonnette

What are some of the field recordings or sampled material used on In Between Words?
The field recordings come from a few different places. Some were in closed environments where I picked up unexpected noise. I like a few chance elements included into the work. One stretch was taken in a convention center with rather noisy escalators. And a few others were captured in my own yard, where the low level din of city and industry rarely leave any silence.

You have some top notch production sound. What is your studio setup?
Truth be told my set up is rather simple. I use a digital field recorder with a few stereo and binaural mics. In the studio I use a set of Hafler monitors and amp and a fairly modest sixteen channel mixer. I have a decent turntable and a handful of useful software programs for sound design. I wish it was more exciting but I feel I can work with less equipment rather than more. Some credit certainlty needs to go to Taylor Dupree for a great mastering job.

How cold are the winters in Canada? And do you think weather and minimalist ambiance have an inner relationship?
Canada and cold winters go hand in hand. Ironically I live at the southern most region of Canada. So I wouldn’t say that I can embrace the cold like most Canadians in the North. I do believe that there is a kinship between minimalist ambient sounds and frigid temperatures. I think Geir Jenssen’s Biosphere project is testament to that.

What are you working on right now?
I’m currently working on a few smaller projects and preparing some material for live performance. In addition to that I have begun some development of new work for a new full length release. I won’t speculate on a time of completion or a release date.

myspace.com/christopherbissonnette | christopherbissonnette.ca

The Sight Below - Glider (Ghostly)

Following up the free digital teaser, No Place For Us EP (Ghostly, 2008), The Sight Below graces our ears with a full length, Glider. The album picks up right where the EP left off - majestic flowing ambient pads spreading over endless soundscapes complimented with an ongoing four/four beat. This is ambient techno at its finest. The lush acoustic guitars are drenched in layers of reverb and luscious background chords. All the instrumentation on the album [sans the 808 percussion] was done with a guitar, ebow, viola box, loop pedals, reverb units and a delay box. The lack of transition in the rhythm first may seem to sound almost amateurish (as if a simple kick was stretched out throughout the entire track), until you realize how important this explicitly desired minimalism is for creating a hypnotic atmosphere, resembling a pumping heart beat somewhere deep within your throat. The title of the album triggers a distant memory: I jump off a mountain in Rio de Janeiro, silently hand glide through thick humid air, and land on the beach. The music evokes all the experienced feelings. The calmness of the ocean. The simplicity of falling. The excitement of danger. The Glider is the perfect soundtrack for this flashback. It's a pleasure to see this album on Ghostly International which is currently celebrating its 10-year anniversary with a tour of The Sight Below, Lusine, Grouper, and others along the way (see the label's myspace for tour dates). This Seattle based artist prefers to keep out of the spotlight and stay anonymous (hopefully for the time being). And as long as The Sight Below keeps on making that great music, we don't care. You will absolutely fall in love with this album if you follow Yagya, Echospace, Gas, and Christopher Willits. And don't forget to pickup the free EP!

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

Two and a Half Questions with The Sight Below

There is no true definition for ambient techno. Yet, I would claim that your style perfectly defines the genre. How do you feel about this classification and the necessary evil of categorization in general?
Categorizing things is part of human nature - I'm not bothered by it, nor do I really mind any categories. Comes with the turf. I do not view 'Glider" in any other way than a very personal and emotional album. It grew out of a lot of things that were happening at the time I wrote it, so I wasn't really trying to make music to fit a certain genre. It just went that direction naturally - I think living in Seattle had a lot to do with it, as you know, we have quite gloomy weather here, specially in the winter - when I wrote the album.

Are there any specific reasons you prefer to keep a low profile?
Well, I've released music under my birth name, and originally I didn't want people to have a preconception of what TSB is all about. At the same time, I'm not really into the whole cult of personality thing that seems to be so ingrained to the electronic music community (or music in general). I'm a really introverted person in so many ways and I don't like to go around telling people I make music or what I am up to.

Now that your first full length has been out for a while, what kind of feedback has it received? I see that even Thom Yorke picked one of the tracks as his favorite of the week.
Yeah, that was really strange - no idea how Thom Yorke got ahold of the music nor do I know him or have a way to get in touch with him (for some strange reason the MySpace inbox on TSB's page was full of people asking me how to get in touch with Thom, like I would know!). So far so good - I really get a kick out of all the Gas comparisons. I love Gas' music, so it is great! At the same time, I think "Glider" is much more than just a Gas-influenced record. There are only like 3 tracks on Glider that are reminiscent of Gas (mostly because they have a 4/4 kick drum in the background). I think the rest has a lot more in common with late 80's/early 90's "shoegaze" music, than techno. I'm surprised nobody has brought up Seefeel yet!

What can we expect in the future from The Sight Below?
There's a remix EP coming up on Ghostly soon - lots of great artists reconceptualized the tracks! I'm very pleased with the results and can't wait for it to be pressed - the artwork looks incredible too!

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

Cardopusher - Mutant Dubstep Vol. 2 (Spectraliquid)

With half a dozen of twelve-inchers under his belt, and a full-length breakcore album Hippie Killers Don't Mind Jah Conversations (Peace Off, 2006), Luis Garbàn, aka Cardopusher, lands a tasteful EP on Spectraliquid, continuing the Athens based label's Mutant Dubstep series with Volume 2. Garbàn's previous output ranged from above mentioned breakcore, to gabber and ragga. Now he's trying his hand at dubstep, and very successfully, may I add. On this three track EP with an additional two remixes by Innasekt (Sneer and Sully) and Pacheko (Francisco Mejia Szilard), you can expect to hear clear influences of Garbàn's edgier side, grinding with those nasty sawtooth riffs through concrete onslaught of deeply resonating dark and dirty bass wobbles. The memory breaching melodies and hooks are screaming to be released onto the dance floor. With a saturation of dubstep tracks on the market, it's very difficult to pick out the standout tracks in the crowd. But you can be sure that Cardopusher's addition to the collection will be permanent. It's no wonder that Thom Yorke (yes, the one of Radiohead) included a remix of Cardopusher's track on his weekly music chart. While grabbing this colorful digipack from Spectraliquid, make sure to pick up the first volume in the series, kicked off by none other than Ebola (Ben Hudson). This is turning out to be a rather nice selection of releases from the predominantly breakcore influenced artists, and I'm looking forward to the volumes to follow. Meanwhile, be sure to pick up Cardopusher's second LP, Unity Means Power, released on brand spanking new Murder Channel Records.

myspace.com/cardopusher | cardopusher.com
myspace.com/spectraliquid | spectraliquid.com

Kaya Project - ... And So It Goes (Interchill)

The latest release from Kaya Project titled, ...And So It Goes, is full of spiritual and ethnic elements, multi-lingual vocals, and world infused beats. This is a third full length album from a collaborative duo of Sebastian James Taylor and Natasha Chamberlain. Incorporating digital production design with organic instruments, Taylor and Chamberlain create a beautiful downtempo album with elements of tribal rhythms and dusty dub grooves. This album is full of contributions from many artists, like Deepak Pandit on Indian violin, Susi Evans on clarinet, and excellent vocals by Irina Mikhailova. Some of the above artists have previously worked with Taylor under his other moniker, Hibernation, with the very latest release, Some Things Never Change (Aleph Zero, 2008). Taylor has always been a pretty busy guy. On the side, he manages to put out 12" breakbeat EPs on Sinister Recordings under his Digitalis alias. Meanwhile, some may recall his early psytrance work under Shakta moniker, with the last album being Feed The Flame (Dragonfly, 2004). In this latest work, Taylor and Chamberlain join forces once more, to display their wide artistic range through music that is at once relaxing, groovy, and earthbound. One can picture carefree belly-dancers performing around the fire, circled by musicians connected to their instruments with heart and soul. It is at once a feeling of happiness and unity with the one. Recommended for the likes of Asura, Tripswitch, Solar Fields and Entheogenic.

myspace.com/sebastiantaylor  |  interchill.com

Aidan Baker And Tim Hecker - Fantasma Parastasie (Alien8)

Toronto based Aidan Baker and Montreal based Tim Hecker pair up to deliver an abstract and experimental ambient piece on a Canadian Alien8 Recordings. Hecker is not a stranger to a noise-prominent label, having previously released Mirages (Alien8, 2004), and a re-issue of Radio Amor (Mille Plateaux, 2003). In addition, his ambient recordings have already graced quality labels like Force Inc, Staalplaat, Fat Cat and Kranky. This is, however, his very first collaboration. Baker, on the other hand, is known for his work with Leah Buckareff, together cooking up ambient drone metal under the Nadja moniker. Baker's discography is immense, and mostly consists of live improvised long pieces. His ability to churn out guitar heavy drone soundscapes can be overwhelming, but together, with Hecker's luscious synth work, they pull out a whole different beast. The overdriven guitars combined with hiss, crackle and static, vibrate feverishly across the frequency spectrum, occasionally revealing a hidden pattern, a loose structure, and a graceful melody. The paced slow-core riffs, rolling at a speed of a sleeping giant, are fed back into themselves and split through a harmonic meat grinder. All this is again mashed up, tweaked out, and faded in through a torrent of bit-crushed digitally violated audio waves that give your speakers (and ears) a massive workout. Fantasma Parastasie is a relaxing fatigue - it cradles you gently by screaming its head off. Thus, together, Backer and Hecker, define an oxymoron of ambient noise or shoegazer metal. This should be a special treat for those with a taste for Belong, Ben Frost, Fennesz, Jasper TX, and Lawrence English. Where as Baker has a bucket of upcoming albums, too many to fit in a paragraph (see my Two and a Half Questions with Aidan Baker for a full list), Hecker is scheduled to release his seventh studio album, An Imaginary Country, in March 2009 on Kranky.



myspace.com/aidanbakermusic  |  aidanbaker.org
myspace.com/rainbowbloodx  |  alien8recordings.com

Two and a Half Questions with Aidan Baker

What is your secret behind the massive volume of work that you are able to produce?
OCD

How much of your work is improvised at the time of the actual album recording?
It depends on the nature of the project -- some are entirely improvised (or spontaneously composed, as I sometimes refer to it), some partially (as with most of the Nadja recordings), and a few only minimally.

What was unique about collaborating together with Tim Hecker?
The majority of the collaborations I have done have been via trading files through the mail or online, so it was relatively unique to work with Tim in person. Also, Tim has very strong ideas about what does and does not sound good and isn't hesitant about letting you know that -- which I found refreshing!

Any musicians that you'd like to work with together in the future?
Perhaps unlikely, but: Caspar Brotzmann...Stina Nordenstam...PJ Harvey...Michael Gira...

Tell us about your upcoming releases.
I've got a number of projects in the works, but the following all have release dates over the course of the year:

Solo:
Liminoid - Alien8 Recordings
Passing Thru (a book/cd release) - Beta-Lactam Ring Records
Noise of Silence (re-issue) - Essence Records
A Picture of a Picture (collab w/ Thisquietarmy) - Killer Pimp Records

Nadja:
When I See The Sun Always Shines On Tv - The End Records (an all covers album)
Primitive North (split w/ A Storm of Light) - Robotic Empire
Under the Jaguar Sun - Beta-Lactam
Autopergamene - Essence Records
White Nights/Drone Fields (dvd) - Beta-Lactam

Whisper Room:
Birch White - Elevation Records

This is a new trio I'm in, the debut album can be previewed here:
virb.com/whisperroom

myspace.com/aidanbakermusic  |  aidanbaker.org

...out on vacation...

I am currently out on vacation. Relaxing, recharging, reflecting. But mostly catching up to music that I missed, and relistening to my favorites. I'll be back in February to pick up where we left of in December. Bringing you more reviews of the old and the new, the known and the unsigned, the beautiful and the nasty, but always good music. In 2009 I plan on continuing in the same spirit, with album writeups, two and a half questions, flashbacks to the pioneers, and an occasional label profile. Meanwhile, I invite you to submit your thoughts on this undertaking. What would you like to see of more? What do you think I can do differently? How has Headphone Commute been a treasure trove, or how has it been a complete waste of time. Until then, I don't promise any bigger or better. I don't even promise more of the same. I promise to just be here. Serving the totality of everlasting energy that I find in music.

BEST OF 2008

It is finally here... It took an incredible effort to actually compile this final list. In some cases it was even more difficult than last years', as I've listened to even more music in 2008. Feels like my mission has been accomplished and 2009 can be started off fresh. But not before I catch up to all the music that I missed myself! Anyway, here it is, just a click away!

Headphone Commute's Best of 2008

Jóhann Jóhannsson - Fordlandia (4AD)

A few years ago, when I was regularly creating mixes for a podcast, an idea came across to compile music for my funeral. One thing I am sure about - I will die. And when I pass on, music will be filling in the void that was once my presence. How touching. Why shouldn't I be the one to select the pieces that would make others weep? Yes, I'll admit, I can be self centered like that. For my opening track, I turned to Jóhann Jóhannsson, and his Odi Et Amo from Englabörn (4AD, 2007). Now, with the release of Fordlandia, I may need to compile a second volume. On second thought, just play the whole album! But don't get me wrong. I don't want to come across saying that Jóhannsson's compositions are full of funeral sound [perhaps that should be a genre in itself?]. Yet, this Icelandic-born modern classical musician composes some of the most beautiful and soul drenching works that I have ever heard. The saturation of emotion approaches even my limits, and my eyes swell up with tears, as the concrete humanity gets cleansed in the rain, out in the windows of my crawling train. This is Jóhannsson's sixth full length album. Besides these contemporary classical conceptual pieces, Jóhannsson produced about a dozen of soundtracks for [mostly] Icelandic films, shorts and documentaries. There are also his theatrical works, arrangements for many artists, and music for installations. It would be an understatement to say that Jóhann Jóhannsson is a prominent figure in Icelandic contemporary artistic community. After all, he's one of the co-founders (along with Kira Kira and Hilmar Jensson) behind Kitchen Motors, "a think tank, a record label, and an art collective specializing in instigating collaborations and putting on concerts, exhibitions, performances, chamber operas, producing films, books and radio shows based on the ideals of experimentation, collaboration, the search for new art forms and the breaking down of barriers between forms, genres and disciplines." Thematically, Fordlandia continues the exploration of technology where Jóhannsson's last conceptual album, IBM 1401, a User's Manual (4AD, 2006) left off. Jóhannsson elaborates: "one of the two main threads running through [Fordlandia] is this idea of failed utopia, as represented by the [its] title - the story of the rubber plantation Henry Ford established in the Amazon in the 1920's, and his dreams of creating an idealized American town in the middle of the jungle complete with white picket fences, hamburgers and alcohol prohibition." For a detailed insight into creation of the album, including a commentary on each individual track (!!!), you absolutely must visit Jóhannsson's web site. Fordlandia thus becomes a second installment in a series of works documenting human hunger for ideals, technological progress, doomed failures, and the beauty of nature reclaiming itself. Such it is still, music for the born and the departed. Highly recommended! Undoubtedly one of the best albums of 2008.



myspace.com/johannjohannsson | johannjohannsson.com
myspace.com/4admusic | 4ad.com

Plastikman - Closer (M_nus / NovaMute)

This flashback is supposed to be another installmanet of my Random Vinyl of the Week series. But I'm already cheating... A little bit... I did indeed pull out this triple twelve-incher from my vast record library (the correct term is discothèque, right?). But it is still shrink wrapped! You can't expect me to break the seal on this collector's item, can you? And, of course, I have a CD version of this 2003 album right here. Plus the disk release contains four extra tracks! So back it goes, whence it came from, to age and marinate some more. Meanwhile, Richie Hawtin is already thumping, laying out some mean bass over reverberated strings. I turn up the volume. I always turn up the volume for Plastikman. Hawtin's control over dynamic range of cranium vibrating bass, and tiny little white noises in the background always creates a hypnotic experience. The pitched down, evil, and creepy Hawtin's voice is reciting some dark lyrics: "I don't know what's left to gain / All the guilt and now the blame / I don't want to stop this game / I'm starting to enjoy the pain." The rolling lower frequencies are penetrating every nook of my studio. The light bulbs are shaking in their sockets. Something just fell in the deep cavern of my closet. Closer is an intense experience, with little release, like an involuntary muscle spasm induced by an alternating current. The themes of paranoia, schizophrenia, and claustrophobia saturate the music. Is this what we get when we get closer to Hawtin? The album tends to continue the discomforting ground work laid out in Plastikman's previous minimal release, Consumed (M_nus, 1998). Moving further away from staple sound of 909 repetitive techno beats, 303 acid sweeps, never ending delays and mind warping arpeggios, Ontario based Hawtin continues his exploration into the deep, the dark and the minimal. A lot of people have dismissed Plastikman as just another speck in the Detroit techno scene of the early 90s, being in the right place at the right time. And at times I wonder if his sound is only exciting because I've been listening to his earlier albums, Sheet One (1993), Musik (1994), and Recycled Plastik (1994) nonstop back in the 90s. But as I mature, revisit, and analyze the sound [which continues to be imitated by many up and comers], I think Richie is here to stay. Even if we haven't heard from him in over five years! Hawtin's owned Canadian labels, Plus 8 and M_nus continue to thrive and output some solid material. For a quick taste of 2008 releases check out Heartthrob's Dear Painter, Paint Me and Gaiser's Blank Fade.



myspace.com/plastikman | plastikman.com
myspace.com/min2max | m-nus.com

Top 50 of 2007

That's right - it's not a typo. I'm taking a few moments to revisit the Best of 2007 before we wrap up this year. As many of you know, it is nearly impossible to listen and cover all the great music out there. There simply can't be a definitive list for the "best of the best". And once such lists are released, many discover great albums that somehow have slipped passed their radar. It is the case for me as well... Every year... I still stumble upon amazing albums from previous years that sound fresh to me. So I'd like to take this opportunity and bring back the gems that have since moved to the top of my rotations. How many of these have you heard? How many of these have you totally missed? Hold on to your undies, boys and girls, cause it's a doozy!

Headphone Commute's Top 50 of 2007
(listed in alphabetical order)
Aaron Spectre - Lost Tracks (Ad Noiseam)
Amon Tobin - Foley Room (Ninja Tune)
Apparat - Walls (Shitkatapult)
Architect - Lower Lip Interface (Hymen)
Balmorhea - Balmorhea (self)
Ben Frost - Theory Of Machines (Bedroom Community)
Boxcutter - Glyphic (Planet Mu)
Burial - Untrue (Hyperdub)
DJ Hidden - The Later After (Ad Noiseam)
DJ Kentaro - Enter (Ninja Tune)
DeepChord presents Echospace - The Coldest Season (Modern Love)
Elegi - Sistereis (Miasmah)
Eluvium - Copia (Temporary Residence)
Evan Bartholomew - Caverns of Time (Somnia)
Fennesz * Sakamoto - Cendre (Touch / Commons)
Goldmund - Two Point Discrimination (Western Vinyl)
Grails - Burning Off Impurities (Temporary Residence Limited)
Hauschka - Room To Expand (130701)
Hecq - 0000 (Hymen)
Kashiwa Daisuke - Program Music I (MIDI Creative / Noble)
Keef Baker - Redeye (Hymen)
Kettel - Whisper Me Wishes (Djak-Up-Bitch)
KiloWatts - Ground State (Native State)
Krill.Minima - Nautica (Native State)
Lights Out Asia - Tanks And Recognizers (n5MD)
Lusine ICL - Language Barrier (Hymen)
Manual - Lost Days, Open Skies And Streaming Tides (Darla)
Modeselektor - Happy Birthday! (BPitch Control)
Morning Recordings - The Welcome Kinetic (Loose Thread)
Mr. 76ix - 3 (Minority Of 1) (Skam)
Murcof - Cosmos (Leaf)
Near The Parenthesis - Of Soft Construction (n5MD)
Ólafur Arnalds - Eulogy For Evolution (Erased Tapes)
Onra - Chinoiseries (Label Rouge Prod / Favorite)
Pan Sonic - Katodivaihe / Cathodephase (Blast First Petite)
Porn Sword Tobacco - New Exclusive Olympic Heights (City Centre Offices)
Port-Royal - Afraid To Dance (Resonant)
Rafael Anton Irisarri - Daydreaming (Miasmah)
Sankt Otten - Wir Koennen Ja Freunde Bleiben (Hidden Shoal)
Stars Of The Lid - And Their Refinement Of The Decline (Kranky)
Stateless - Stateless (Studio !K7)
Swod - Sekunden (City Centre Offices)
The Cinematic Orchestra - Ma Fleur (Ninja Tune / Domino)
The Field - From Here We Go Sublime (Kompakt)
The Flashbulb - That Missing Week (Alphabasic)
The World on Higher Downs - Land Patterns (Plop)
Valgeir Sigurðsson - Ekvílíbrium (Bedroom Community)
Venetian Snares - My Downfall (Planet Mu)
Vladislav Delay - Whistleblower (Huume)
World's End Girlfriend - Hurtbreak Wonderland (Human Highway)

Stephan Mathieu - Radioland (Die Schachtel)

I was sitting in the waiting room. Waiting. The only external factors affecting my senses were the parallel lines of the desks and the chairs, the subdued colors of the withered walls, and the music of Stephan Mathieu in my headphones. I looked over to the clock, and the hand stood still. I turned my head sideways, squinted, and waited. Finally the hand moved. One second has passed. Then the parallel lines began to move, the chairs rippled against the desks, and the colors of the walls bled onto the carpet. My presence smiled, exited the waiting room, and slammed shut the door. I snapped out of my trip, as the clock has jumped ahead one meager second. The music on Radioland has a tendency to spread through reality its invisible tentacles of sound and invade every frequency with its incredibly thick palette, turning inaudible noise into sound, into music, into white noise again. Radioland is Mathieu's fifth full length release. And here's the kicker - it has been 'exclusively based on real-time processed shortwave radio signals', down-casting the higher frequency wavelengths to an audible spectrum of the human ear. Radioland is a limited release on a Milan (Italy) based Die Schachtel label. It is shipped on a transparent disk, Plexiglas body, with a clear acetate multi-fold cover, and appears to be already sold out on Boomkat. German born Stephan Mathieu, has been working with digital and analog processing techniques for more than a decade. His work is well known with an extensive discography concentrating on experimentation with sound, audio installations, and unique live performances. Mathieu's previous full length studio release was The Sad Mac (Vectors, 2004), followed by a collaboration with Janek Schaefer on Hidden Name (Crónica, 2006), and a single half-hour long recording of Radioland which was released by TouchRadio mp3 podcast series (Touch, 2006). The album is a highly recommended headphone experience, available as a digital FLAC download, if you can not get your hands on a limited hard copy. One thing for sure - this isn't drone music. It's macroscopic sounds fusing together into a grandiose orchestra. Another favorite of 2008.

myspace.com/stephanmathieu | bitsteam.de
die-schachtel.com

Boards of Canada - Geogaddi (Warp / Music70)

In 2002, the Scottish electronic music duo, Boards of Canada released their second commercial full length album on Warp Records, titled Geogaddi. I say, "commercial", because prior to being signed to Warp, brothers [yes, they _are_ brothers] Michael Sandison and Marcus Eoin Sandison have released several obscure EPs and albums on their own, Music70 imprint. These were mostly self-made cassette tapes, recorded for their friends and family, and are very rare and pretty much unavailable, with the exception of a few, which were later re-released. In 1995, Twoism attracted the attention of Sean Booth (Autechre) through a demo released on [that famous] IDM mailing list, and soon thereafter Hi Scores EP was released on Skam Records. In 1998, Warp picked the duo up with Music Has The Right To Children, and the rest, as we say, is history. On Geogaddi, BoC continues to play around with warped effects of stretched magnetic tape, light sprinkled beats, ghostly melodies and echoes of distant voices. The mood of Geogaddi is dark, melancholic, and at times nostalgic for the childhood, perhaps as a continuation of BoC's previous themes on Music Has the Right to Children. The sound of this electronic recording is very organic and warm, no doubt benefiting from BoC's use of analog equipment, acoustic instruments, and samples sourced from nature documentary films produced by the Canadian government agency, NFB - National Film Board of Canada. Sandison was quoted to say that Gogaddi is "a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again." The 22 tracks on the album are a result of 400 different song fragments and 64 complete other songs, which were all trimmed, re-sampled and selected to be featured on a beautiful triple 12". The last record's side F (considered to be the 23rd track of pure silence), contains an etching in the vinyl of an image of a man, woman and two children. The artwork on the album consists of kaleidoscopic images of photographs of children created by the brothers themselves. We last heard from Board of Canada through their 6 track Trans Canada Highway EP, released on Warp in 2006. Today, the brothers continue to stay out of the spotlight, working away on more tunes featuring their original staple sound. Or at least we can hope that they are ;)



myspace.com/abeautifulplace | boardsofcanada.com
music70.com | bleep.com
myspace.com/warprecords | warprecords.com

Fennesz - Black Sea (Touch)

Here comes Fennesz, with his highly anticipated fourth studio album on Touch. Christian Fennesz is a prolific Vienna based composer who has been crafting electronic multi-layered laptop compositions with an aid of his guitar since the late 90s. Or is it the other way around? His guitar driven pieces with a heavy dose of DSP? Either way, Fennesz has developed that instantly recognizable and many times imitated sound. His vast discography extends through numerous EPs, remixes, soundtracks and collaborations, most notable of which is his work with Ryuichi Sakamoto on Cendre (Touch, 2007); as well as Cloud (Erstwhile, 2005) on which he worked with Keith Rowe, Toshimaru Nakamura and Oren Ambarchi. With a collection of works approaching the count of 30, Fennesz's last solo studio release was four years ago, Venice (Touch, 2004). So it should be no surprise that the fans jumped in anticipation to grab this 2008 release, Black Sea. And I hope the fans are not disappointed. Fennesz picks up where he left off with Venice, building on his trademark of processed and filtered guitar sound. Faint melodies cut with their pale beauty through a sharp fuzzy white haze. Sure, it may sound like over-driven, bit-crushing, pixel-offsetting, standing noise you have heard before on another album. But let me remind you once more, that Fennesz has been pioneering this sound well before the advancement of software and saturation of costly plugins on the market. On a nine-and-a-half minute track called Glide, for example, Fennesz is joined by Rosy Parlane [check out his albums Iris (Touch, 2004) and Jessamine (Touch, 2006)], to build up an incredible swell of sound, that buzzes to an orchestral crescendo, until it breaks into a tidal wave of near silence, which washes off the coast of a Black Sea. Experience Fennesz if artists like Alva Noto, Philip Jeck, Jan Jelinek, and Oren Ambarchi are on your radar. 

Also... Check out my previous review of Cendre and Two and a Half Questions with Christian Fennesz



myspace.com/fennesz | fennesz.com
touchshop.org | touchmusic.org.uk

Von Magnet - Ni Prédateur Ni Proie (Ant-Zen / Jarring Effects)

Ni Prédateur Ni Proie is a complete theatrical performance packaged into twelve sketches on a disk. Strings tune up. A gong rings. A voice pleads with a shadow. Tension builds up. Industrial percussion kicks in. What follows is a combination of experimental neo-classical and avant-garde rhythmic technoid, curated with ethnic organic beats and acoustic orchestral instrumentation. Along the dark curtain of apocalyptic soundscapes, people confide in their woes. What is this place? With scalpel sharp precise execution, the French collective Von Magnet, tells a story of a human conflict. Regardless of the geographical location, we, the people, tend to find reasons to create interpersonal struggles that reflect externally through rage, tears, and war. The field recordings and the produced performances in different tongues speak for the voice of the human condition and the reality of today's brutal world. The cover art depicts two hands, of different skin color, smothered in oil, attempting to hold on to each other, but slipping away. The music conveys a similar theme. Von Magnet has been around since the late 80s, saturating the airwaves with post-industrial sound through more than a dozen albums. Their live shows are usually accompanied by performance art which transform the stage into a fascinating experimental musical. A quote from their bio: "Based successively in Barcelona, Rennes, Amsterdam, Lille, Berlin & Paris, for each project gathering different creative teams and mixed peculiar tribes of performers, visual artists, dancers, musicians, designers or sculptors, Von Magnet is indeed one of the cybergypsy pioneers of euroculture." It would be an absolute treat to see them live. Meanwhile, this excellent addition to an already powerful catalog of Ant-Zen will have to satisfy your cravings. The album is released in parallel on a French Jarring Effects label. Refusing to be divided, refusing to be boxed in, and refusing to accept the two extreme choices, with their music Von Magnet proclaims that it will be... neither predator, nor prey.



myspace.com/vonmagnet | vonmag.net
myspace.com/antzen | ant-zen.com

Sylvain Chauveau - The Black Book Of Capitalism (Type)

This dusty selection of modern classical compositions originally released by Sylvain Chauveau in 2000 [and re-issued in 2002] is once again available on Type Records! This was Chauveau's debut album, originally titled in French as Le Livre Noir Du Capitalisme, and released on a Dijon (France) based experimental and ambient label, Noise Museum [which is now defunct]. This album has been long out of print, and I'll admit - since it never reached US, it totally fell off my radar. But thanks to Type, this remastered version [although still limited to only 400 copies] can be heard again! Throughout the years, Chauveau has experimented with sound applying self-imposed principles that amount to just these three: "to stay as close as possible to the abstract beauty of 'silence'; to make sure that each sound committed is absolutely necessary; to find [my] own roots within [my] cultural and personal history." Chauveau's collection of albums range from solo piano pieces to minimal experimental drones. For an interesting minimal exploration of fragmented sound check out the last five-track album, simply titled S. [Type, 2007]. Chauveau also has composed soundtracks for films by Sébastien Betbeder. The latest release, Nuage [Type, 2007] compiles music for two films, Les Mains D'Andréa, and of course, Nuage. But back to The Black Book Of Capitalism, which, incidentally, shares its title with a French book published in 1998, which is a collection of essays covering everything from African slave trade to the era of financial globalization. This original album is very much different from Chauveau's current experimental pieces. It is quiet the opposite, and one might say "full of sound". And immediately, one track after another, start to receive five star rating on my player, falling along the roster of my favorite works by Peter Broderick, Goldmund and Max Richter. Through the crackling grooves of a record the images of early European films flood the airwaves with ghost-like beautiful melodies that have only matured since their original birth. Music like his doesn't age. It is classic. Highly recommended!



myspace.com/atkinsonchauveau | sylvainchauveau.net
myspace.com/typerecordings | typerecords.com

Biosphere - Shenzhou (Touch)

Prior to doing a proper writeup on Geir Jenssen, I listened to all of his grandiose works. Twice. OK, maybe not all. Jenssen's discography does not only span albums under his most famous moniker, Biosphere. There is his debut album, The North Pole By Submarine (SSR, 1989) as Bleep; two volumes of The Fires of Ork in collaboration with Pete Namlook (Fax, 1993 & 2000); two releases with The Higher Intelligence Agency, Polar Sequences (Beyond, 1996) and Birmingham Frequencies (Headphone 2000); an album, Nordheim Transformed (Rune Grammofon, 1998), with Deathprod; and finally a collection of field recordings from Tibet, Cho Oyu (Ash International, 2006), under his real name. And that's just scratching the surface. However, after spending an entire week (!) revisiting Jenssen's contributions towards the evolution of ambient sound as we know it today, I settled picking Shenzhou for this writeup. That one, my friends, is a masterpiece. Shenzhou explores more than just dark atmospheres and loop based hypnotic soundscapes. Here Jenssen does something many musicians have tried to accomplish - use classical music as the main ingredient, but without being too overbearing, obvious, or just for its mere sake. In Shenzhou, Jenssen constructs haunting environmental passages based on orchestral works by Claude Debussy, La Mer (The Sea) and Jeux. During the beatless layers of lush pads, deep sonic bass, and dusty vinyl samples of strings and woodwinds, Jenssen builds on meditative templates inflicting a trance-like state for the mind relying on its pattern recognition capabilities. The subliminal waves of euphoria wash over the timeless expansion of sound throughout the universe of the void. The subtle contributions of Jenssen's own sound design only enhance Debussy's already melancholic impressionist approach. Purely genius. This work solidifies Biosphere's impact on ambient movement. Previously, Jennsen has been known to pioneer his own personal style - arctic ambient. The latter is thematically named for Jenssen's geographical and minimalist attributes. Born in Tromsø, a city in the Arctic Circle of Norway, Jenssen evoked the sense of isolation and arctic calm, more prominent in his earlier albums like Substrata (All Saints Records, 1997) and above mentioned Polar Sequences. But in Shenzhou the ice melts away into the ocean of sound. And with it we drift... and we drift... For a sensory deprived in-vacuum experience, pick up Biosphere's Autour de la Lune (Touch, 2004) [headphones with deep bass response recommended], as well as his latest, Dropsonde (Touch 2006). In 2007, Norwegian Beatservice Records, re-released the first three of Biosphere's albums - Microgravity, Patashnik, and Insomnia. Highly recommended for the likes of Gas, PanAmerican, Steve Roach, Robert Henke, Deaf Center and Murcof.



myspace.com/biosphereofficial | biosphere.no
touchmusic.org.uk

Ten Favorite Mixes

Besides listening to albums and compilations, I do tend to consume a lot of mixes released around the net on various blogs, podcasts, and labels. Although this selection is pretty enormous, I'd like to take the time and document some of the mixes that have appeared in my rotations more than a few times, and will most likely remain on the list. The other, most important reason for this post, is so that I could share this music with you. And best of all, these are all FREE for you to grab right now!

Bop - Autumn Studio Mix (Sonorous Music)
This one was recommended to me very recently, and I have already listened to it a bunch of times. Bop compiles a mix of intelligent drum'n'bass with a hint of bass heavy IDM elements. This one is exclusive to Sonorous Music. A big portion of tracks are produced by St. Petersburg (Russia) based Bop himself, which is very impressive. The tracks are minimal, glitchy, and deep. Highly recommended. I'm definitely keeping my eye on Bop.

Anders Ilar - Love Fields (Electronique.it)
Anders sent me a copy of this mix himself, but it appears to be featured on Italian electronic music magazine and podcast, electronique.it. Ilar arranges an experimental glitchy mix layered with ambient and modern classical pieces, featuring Murcof, Alvo Noto, Deru, Kettel, krill.minima, Morgan Packard, and even Shadow Huntaz. An excellent selection and very fluid flow.

Luke Hess - mnml ssgs mx05 (mnml ssgs)
Here's a mix featured on a blog I frequent, mnml ssgs, covering everything minimal. On this exclusive mix, Detroit based Luke Hess compiles up some tech house, minimal techno, and dub-tech, featuring tracks by himself, Sistema, Luciano, Efdemin, Urban Force and others. This mix has kept me upbeat, even during the most stressful situations. I especially remember bopping my head to the groove in the airport security line. Hope it does the same for you.

Jasper TX - mnml ssgs mx08 (mnml ssgs)
OK, while I'm still covering the mnml ssgs blog, here's a treat from Dag Rosenqvist, aka Jasper TX. On this exclusive mix, Dag features some ambient, modern classical and minimal tracks from Eluvium, Tsukimono, Jóhann Jóhannsson, Machinefabriek, and himself with a beautifully crafted flow of sound. Don't forget to add mnml ssgs your RSS feed and keep up with their nice writeups and a nice selection of exclusive mixes.

Surgeon - For Dog Faces Only (Spannered)
If you feel like hitting something a bit more harder, you can always count on the Surgeon. Put this in your pipe and smoke it. An excellent grind through Jeff Mills, Monolake, Joey Beltram, Basic Channel, The Surgeon himself and many of his other favorites. This mix comes from Spannered radio where it is still one of the most popular on their list. If you poke around on the site, there are a few more nice ones by Neil Landstrumm and Aaron Spectre that I recommend grabbing

Ambivalent & JPLS - M_nus 10-Year Anniversary Mix (XLR8R)
This mix, celebrating M_nus Records' 10 year anniversary, appeared in XLR8R Podcast. I'll be honest, that most of the magazine's podcast episodes are blotchy, but this excellent mix features tracks from False, Heartthrob, Gaiser, Ambivalent, and of course, the label owner, Richie Hawtin and his famous Plastikman moniker. Pretty solid coverage of all the label's favorites.

The Glitch Mob Mix (XLR8R)
Since I already mentioned the XLR8R podcast above, I might as well bring your attention to this compilation of the Los Angeles based collective, Glitch Mob, featuring some of the west-coast electro-infused instrumental hip-hop, chopped-up glitch and head-bopping beats. The names to watch for on this one are edIT, Ooah, Boreta & Eprom, and Clipse. Definitely a great party flavor there...

Pinch - EE.ORG 1st Anniversary Mix (Electronic Explorations)
It's no secret by now, that for all of my dubstep needs, I regularly tune into Electronic Explorations podcast. Last week, EE celebrated its one-year anniversary, and Pinch contributed an exclusive mix featuring a handful of his own tracks, plus a few from Distance, 30Hz, Peverelist and Deleted Scenes. Apart from the continuous mix appearing in the middle of the podcast, Rob features a few of forthcoming releases from Planas, Mount Kimbie, and a favorite of mine, Reso. Just add this to your subscription list, grab previous episodes (all, if you ask me), and forget about searching for the latest tracks - Rob's got it covered for you!

Amon Tobin - Solipsistic Nation No 82 (Solipsistic Nation)
Solipsistic Nation is yet another podcast that is regularly on my rotations list. This year, Bazooka Joe, covered a variety of the best styles in electronic music. My favorite episode happens to be his interview with Amon Tobin featuring some of his earlier tracks released under Cujo moniker. Besides the music, the interview itself is very informative, and although this is not really a continuous mix by Amon Tobin himself, I still felt compelled listing it here as one of the best for this year.

Emanuele Errante - Live Set (Somnia Podcast)
Somnia Records had only four episodes in its podcast this year, yet one of the labels artists, Emanuele Errante, happened to secure a spot with his exclusive Live Set. Grab this one to dive into some gorgeous ambient and modern classical. I really hope that Somnia will resume its podcast, perhaps featuring a live set by the label's owner, Evan Bartholomew, who recently released another LP, "Phoenix Rising" under his famous Bluetech alias.


I'm going to leave off this post here, inviting you to submit some of your own favorite mixes of the year. Please chime in and drop off links to free and legal downloads. I'd be sure to check them out!!!

Silent Land Time Machine - &hope still (Time-Lag / Indian Queen)

At times mysterious, at times complex, but always relaxing, even during its climaxing moments, Silent Land Time Machine is an instrumental rock project that reminds me a lot of A Silver Mt Zion. Except that... Jon is just one man... But upon your first listen you wouldn't know it... Hailing out of Austin, Texas, Jon is a multi-instrumentalist, and is equally comfortable behind the guitar, piano, accordion, and a wide range of stringed instruments. His motivation to master the musical medium and inspirations are credited to Anni Rossi (recently signed to 4AD) and Sophie Trudeau (member of Godspeed You! Black Emperor, and a co-founder of Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band), as well as much other output from Constellation and FatCat labels. Jon mangles instrumentals, DSP filtering, and field recordings which create a feeling of a small folksy community gathering, improvising over familiar melodies. The mood of &hope still, is less apocalyptic and political then the above mentioned influences, leaving a lot more room for imagination of the listener. Although some of the sounds appear to be looped, the patterns are not obsessively repetitive and are very organic. Jon takes great care in overdubbing layers and layers of live instrumentation to create his unique blend of post-americana-psyminimal-desktop-folktronica. Yes. I like that for a genre. The debut album has been released this past October, 2008, as a collaborative effort between Time-Lag Records and Jon's very own Indian Queen Records. Recommended if you like experimental pieces from M83, Mogwai, Benoît Pioulard, and Múm.



myspace.com/silentlandtimemachine | time-lagrecords.com
myspace.com/indianqueenrecords | indianqueenrecords.com

Paavoharju - Laulu Laakson Kukista (Fonal)

I'll admit - it took me more than a few listens to get into Paavoharju. I almost dismissed the album completely, but my readers kept insisting that I give it another whirl. And here it is, Laulu Laakson Kukista, opening its intricate secrets after careful observation. The crackles, the noises, the lo-fi magnetic tape manipulations dispel, and the inner beauty of modern classical marriage to neo-folk emerges. So how do I begin describing something that is indescribable. An assembly of illusions scratching at deep rooted memories of childhood, a collection of conflicting elements settling into a unique pattern of a snowflake, a kaleidoscope of loose material patched together into a summer dress that is being hung up to dry in a sunlight by a humming villager. Between the digital artifacts and purely organic ambient hymns you find something... spiritual... revived through simplicity of a pure song. And after a few listens it is that song that draws you closer towards Paavoharju's mystical sound. Laulu Laakson Kukista is the second LP from a collective of Finnish born-again Christians (!) initially organized by brothers Lauri and Olli Ainala. Their first LP, titled, Yhä Hämärää, came out on the same label, Fonal Records, in 2005. The group is not a stranger to the scene, and since their debut, Paavoharju landed an EP on Miasmah as well as a 7" on Type Records. It's nearly impossible to draw a comparison between Paavoharju and any other artist, but if I was pressed, I'd perhaps point towards the abstract experimental and psych-folk work from Boards of Canada.



myspace.com/paavoharju | paavoharju.com
myspace.com/essami | fonal.com

Wurlitztraction - The Star Lit Numbers On Her Fingers (Enough)

Like a buzzing concoction of plaster molded jigsaw, the sound of this abstract and experimental album descends on a creaky base board of musique concrète and gets nailed with percussive staples. The man behind this sound effect rich "soundtrack for late nights/early mornings" is Chris Reid, who goes by the name of Wurlitztraction. Reid compiled his collection of field recordings and unused studio manipulations from the soundtrack pieces he was producing for short films and animations, and wrapped this into an composition, The Star Lit Numbers On Her Fingers. It soon began taking a shape of its own, complemented with rich sound design, glitching electro-acoustic beats and a gentle push towards a darker sonic side of rhythmic noise and experimental electronica. It seems that the patterns never repeat, the melodies never blossom, and the haphazard ticks reappear here and there in a schizophrenic mania of a constantly twitching mass of a dying brain. And Reid doesn't stop there. Here comes in a bass guitar, acoustic drums, and industrial hits with an occasional vibraphone, trip-hop beat and a jittery feedback. Overall it's pretty difficult to pinpoint the style behind Reid's music [and that's a good thing], which is why I hold on to describing tiny mementos throughout the album. The Star Lit Numbers On Her Fingers is Reid's second release on Portuguese net-label, Enough Records, and is available for download for free from the site and scene dot org (catalog number enrmp138). Reid has also previously released an album titled, Lucidity Cue, on the same label.

myspace.com/wurlitztraction | enoughrecords.scene.org

Gescom - ISS:SA (Skam)

So we'll never know who's behind Gestalt Communications (Gescom), so what? It's pretty obvious that Sean Booth and Rob Brown of Autechre have a hand at this. This 2003 EP only reveals the well respected label, Skam and its title, ISS:SA, and even the latter is slapped as a braille sticker. The release did however follow on the heels of Autechre's DRAFT 7.30 (released only a week later) so many fans pick up the glitchy destroyed patterns, doomed abstract chords, and unrecognized splattered percussion to be as an extension of the album. Unlike any other collective, Gescom continues to lead us into the dark alley of nightmarish pleasures. All the while you're protecting your valuables and trying to scratch your head and place that sound that you've heard before. C'mon brain! Reconstruct this puzzle into a four second jingle! There!!! No, gone again. Smack! The last track, titled Slow Acid is a favorite of mine. This needs to be turned up much louder to hear all the tiny little white noise melodies in the background, while the AE kick progresses forward in a steady beat, and the common acid-house chords are choked up beyond comprehension. Sub woofer required. The artwork contained in the sleeve of the record is a special bonus. Another testimony to why records can offer just a little bit MORE. The insert is a two sided glossy print featuring a digitally modified image of trumpet, or perhaps a polished motorcycle exhaust pipe, creating an astonishingly bizarre brass instrument, the likes of which could only belong to Booth and Brown. The CD version of the record has a bonus track, titled Megamix. This is a 15 minute Gescom concoction which was originally featured on BBC Radio One's show when they did a Skam Records label profile. Here, the metallic rhythms and bit-crushed patterns are continuously looped into tiny fragments. I can only speculate if all the pieces are from previous Gescom releases and if it was performed live by sliding the loop window over an area of some track(s). Only like Autechre.

myspace.com/skamsmak | skam.co.uk

VA - Diaspora: Cottage Industries 5 (Neo Ouija)

Neo Ouija is BACK! That's right kiddies. After closing its doors in 2005, the Devon (England) based label originally started by Lee Norris (Metamatics), has re-opened its doors, and is now managed by Martin Hirsch (aka Deer and Random Noise Productions). Propelling many electronic musicians to fame, Neo Ouija is responsible for much output from Geiom, Bauri, Accelera Deck, Kettel, Funckarma, Apparat, Xela, Secede and many others! With this first double disk compilation, Hirsch is introducing us to a brand new roster of musicians. Additional contributions towards the comp include a few notables like Move D, Maps & Diagrams, and Kangding Ray. As with many other collections showcasing the upcoming works, it is difficult to pinpoint a specific genre, especially across a large radius umbrella like Neo Ouija. This fifth installment of Cottage Industries series, titled Diaspora, traverses the styles across its thirty (30!) tracks. Starting off with an excellent IDM track by MXM (an artist I'm planning on watching closely from now on), the selection of tracks on the first disk progresses into tech house, dub techno, and deep house. The second disk is a favorite of mine, and features more experimental, glitchy downtempo and IDM. At number twelve, another favorite of mine, Seven Ark, returns with familiar twisted loops, melodic pads and few remains of bouncing marbles with a track titled Version 2. The compilation signs off with a short ambient interlude from Nacht Plank And Shintaro Aoki that wets my appetite for the things to come. I'm really happy that Neo Ouija is back and I congratulate Martin Hirsch on resurecting the label that will continue contributing towards evolution of sound.



myspace.com/neoouija | neoouija.com