Mostrando entradas con la etiqueta Ambient. Mostrar todas las entradas
Mostrando entradas con la etiqueta Ambient. Mostrar todas las entradas

sábado, 14 de abril de 2012

En - Already Gone


Link removed by request

Genre: Ambient, Drone, Electronic



A universal definition of what is “beautiful” will probably remain eternally elusive. Different tastes, different cultures, backgrounds and a myriad of other factors play into how one person’s perception of beauty differs from the next. That said, it would be difficult to imagine anyone listening to the opening minutes of En’s sophomore effort, bask in the swelling layers of sound and not feel totally surrounded by the sublime, the utterly beautiful.

Processed fields of digital ambience wash down upon the listener, guided thoughtfully by the clear bass notes of The Drift’s Trevor Montgomery, notes appear and sounds reveal themselves from underneath the veils of opener “Lodi”, which at two minutes long is a fraction of what most ambient/experimental artists put out, yet equally effective. The presence of bass guitar remains in the following track, and the fact that its inclusion works so well makes one wonder, why aren’t more artists who dwell in the limitless fields of ambience using bass in their mix? Its effect is enamoring, like a constant link between the heavens and earth, making the pristine worlds created by the reverb laden soundscapes appear more tangible. They turn from places that exist solely in dreams and fantasies to ones where you can actually reside and immerse yourself within. The bass notes, however scarce they might be, add that effect perfectly. It is extremely simple yet absolutely brilliant. I want more bass in my ambient from now on!

The rest of the album doesn’t stray far from the opening tracks in terms of quality or mood. “Already Gone” keeps going strong and the duo of Maxwell August Croy and James Devane continuously show that there is more to drone or ambient music than tons of reverb. They are able to mix things up, but do so ever so subtly, the koto plucks which bring to mind Nest’s best work, the jagged drones laid down to utmost effect amidst other layers in a manner that would make Richard Skelton proud. It’s all so thoughtfully done and keeps the listener completely locked in throughout the album’s length.

Thoughtful instrumentation and an eye for all that’s pretty won’t cut it though, I mean sure it’s gorgeous, but there’s more than the fair share of ambient musicians out there treading along these same lines. What cuts it, what seals the deal, hits a home run, touches down and does a triple backward somersault, is an ear for melody. What has always differentiated the everyday sound artist from those who excel at it, in my humble opinion at least, is melody. This might sound old fashioned, but nothing warms my heart more, especially one that has all these beautifying elements in the background, and that is exactly what makes album closer, “Elysia”, work so wonderfully.

At a little over nineteen minutes, longer than the four previous tracks combined, “Elysia” is naturally the one track which ultimately makes or breaks the album. It is the moment where the listener is faced with a more concrete, longer lasting thought rather than snippets of emotion and it shows En’s abilities at their highest; Here we have an emotional mass that provides an alluring gravitational pull, the introduction of piano, followed by psychedelic arps and synths make way for a vast field of quietude ending with sparse toy piano notes that fall away quietly into nothingness. We’ve reached the end and get a bigger picture of the effort the artists have put into constructing the compositions, it’s a trip through the details rather than a postcard of the overall result. En take us through the express route in the first half of the album and then back via the scenic route and both work marvelously.

Whether or not “Already Gone” would remain in my personal rotation for many months to come is something that I can’t tell for sure at the moment, but what I am sure of is that for the time I spent with it, I loved it deeply and if I am to take a souvenir with me it would have to be second track “The Sea Saw Swell”. That Bass!!!

Review from Fluid Radio

viernes, 30 de marzo de 2012

Nicholas Szczepanik - We Make Life Sad



Genre: Ambient, Drone, Experimental
Label: Weme Records




'We Make Life Sad' is a powerfully haunting transmission from Chicago's Nicholas Szczepanik - and a very strong choice for fans of The Caretaker or Indignant Senility. In contrast to last years well received 'Please Stop Loving Me' suite, this side for Belgium's WeMe is more concise, refined into ten chapters of gauzily textured samples, zombied digital synth tones and processed strings which hover and shapeshift like slow-moving hallucinations. Like we say, there's an undeniable conceptual allegiance with The Caretaker's foisty shellac ambience and introverted loop spirals, but like Indignant Senility's compelling 'Consecration Of The Whipstain', the magic herein lies with Nicholas' ability to breathe extra life into the samples, foregrounding their rich melodic nuance and tactile textures against a murky, lowlit background which draws the ear through the heavy red curtains to a cavernous and dark hollow behind. If it was mere plagiarism we'd say so, but it's not, and we look forward to spending time with this LP in our musty old attic listening space.




martes, 13 de marzo de 2012

Nova Scotian Arms - Cult Spectrum



Genre: Ambient, Drone, Dark Ambient




Nova Scotian Arms has concocted a sprawling, sophisticated catalog of winding compositions and dizzying drones. Grant Evans, who is also 1/2 of Quiet Evenings and co-curator of the Hooker Vision label, is the brains behind the entire operation. Throughout numerous releases he has shown a consistent ability to keep listeners guessing as he explores endless sonic territories. With Cult Spectrum, Evans is drowning himself in a hazy aural sea. 

Like much of his work, there is a very distinct mood on Cult Spectrum. This is funereal music that is stretched to its breaking point. Distant galaxies are buried underground in a delicate mix of sounds that are as cosmic as they are organic. This duality is at play straight-off with the masterful opener, "Gathering/Composition." Soaring in crystal skies on beds of hiss, each strained note from Evans' Rhodes piano that emerged from the murk is an anchor keeping the song and the mood gravity-stricken. It works to perfection, drawing in the listener immediately. 

Tape loops and radio interference deliciously muddy the waters of Cult Spectrum. The 16+ minute burner, "Emulsion," combines all those and more into a cacophonous stew. Acoustic guitars circle around and die in the swirling synthetic drain. Each wave emerges in stages as Evans shows considerable compositional skill in the way the piece is put together. With "Overcast Strumming (1st Delay)" comes a melancholic, skyward glance. Electronic corridors take shape and find a simple beauty through tonal dichotomies. Blurred drones are puncuated by bursts of fuzz, working in tandem to find that sonic bliss. 

If Cult Spectrum is Nova Scotian Arms' biggest stage and loudest statement then the message is coming through loud & clear. Grant Evans is a force to be reckoned with. This is the sound of dissonance sculpted and shaped into something far greater and leaves its mark long after the final, ghostly seconds of "Hearse Overdub (Decomposition)" fade away. Evans is digging a tunnel, heading straight for the sun.

lunes, 12 de marzo de 2012

Grouper - Violet Replacement



Genre: Ambient, Drone
Label: Self released


Grouper’s Violet Replacement performances are long form ambient pieces comprised of tape loops, field recordings Wurlitzer loops and submerged atmospherics, mixed and processed live from an array of dictaphones and tape players.

lunes, 5 de marzo de 2012

Loscil - City Hospital



Genre: Electronic, Ambient, Drone, Abstract
Label: Wist Rec



Sound report on Malcolm Lowry’s novella “Lunar Caustic”.

The “Book Report Series” was conceived as way of involving the shifting state of literature with a community that would not only help to highlight the significance of a book’s physical form but also allow one to glean new, immediate connections between differing art forms.

jueves, 16 de febrero de 2012

Black To Comm - Earth



Genre: Ambient, Drone, Experimental
Label: De Stijl



Astonishing new album from Marc Richter aka Black To Comm on Minneapolis's ever-reliable De Stijl (C Spencer Yeh, Michael Yonkers, Smegma, Wet Hair etc). As boss of the Dekorder label, has introduced to an astonishing array of quality artists over the years, but his own music is beginning to eclipse his estimable A&R skills. The long-awaited follow-up to 2009's Alphabet 1968 LP on Type, this new album is based on an original score he created for Ho Tzu Nyen's film EARTH. There's no doubt that it's his most ambitious work to date, with deliciously woozy, woe-stricken vocals - impossible to hear without thinking of Scott Walker, David Sylvian, Antony Hegarty and Vindicatrix - at the fore of minimalist, electronics-daubed drone-folk arrangements that occupy a hallowed space somewhere between Talk Talk and Fennesz. It's really that good, conjuring a truly epic sadness but providing enough sonic nourishment that the tears feel like a good thing. The second half of the record heads deeper into loop-based abstraction, climaxing on the 15-minute 'The Children' but those lachrymose vocals remain - and the combination is just sublime.

lunes, 30 de enero de 2012

Windy & Carl - We Will Always Be



Genre: Ambient, Drone
Label: Kranky



The first new recordings from Windy & Carl in more than three years. Cited as "A leading light of the Michigan space-rock scene" by Allmusic, the minimalist group formed in 1993 around the core husband-and-wife duo of guitarist Carl Hultgren and bassist/singer Windy Weber. (Most of the band's pieces feature no vocals, however.) The band was prolific from the outset up to 2001, whereupon they took a hiatus of a few years. The music of Windy & Carl borrows heavily from the sounds of 1980s era bands on 4AD Records, specifically that of Robin Guthrie of the Cocteau Twins and various other dream pop and shoegazer acts. Unlike noteworthy prior drone/ambient artists (such as Cluster, Brian Eno, Popol Vuh, et al.), Windy & Carl's drones are primarily derived from guitar, particularly via usage of delay effects, reverb effects, and E-Bow, rather than synthesizers.

domingo, 22 de enero de 2012

From the Mouth of the Sun - Woven Tide


Link removed by request. 
Stream

Genre: Ambient, Drone, Electronic, Neo Classical


News came recently of Dag Rosenqvist's intention to release his last album as Jasper TX early this year, and move on, in his own words, to 'new beginnings'. His project From the Mouth of the Sun with friend and fellow noise experimenter Aaron Martin is the first of these, with another to follow with Matt Collings and hopefully more. Whilst Woven Tide, released by Jeremy Bible's Experimedia label, may show glimmers of both artists recognised sounds - the album endeavours to achieve something altogether different. The result is immediately compelling; full of moments of painful melancholy, disarming emotion and intense bittersweet beauty.

Difficult to ignore is the stark juxtaposition of reverberated sound, and striped back instrumentation, delivered by guitar, violin, interjections of voice/choir, chimes and more. As an entry point to the album and sound, the one minuter The Crossing introduces this aesthetic perfectly, setting out the intent for the rest of the tracks. From here on in we are treated to a set of stories retold with a romanticised tenderness, full of rich imagery, and textures.

Color Loss left me speechless on first listen and continues to affect on subsequent sittings. Working around a relatively simple melody, Martin and Rosenqvist manage an aching mournfulness through repeated choral voices. In the second half, the voices give way to allow violins to continue the motif, establishing an even greater heart breaking melancholia. The same depth of sound is found in the violin notes of modern classical figure-head Richard Skelton, who works every vibration emanating from his strings into gloriously rich sculptural textures. The duo develop this surrounding noise, without ever losing the stark emptiness.

Shimmering cymbals, and a metallic reverberation of dust particles appear to penetrate via osmosis on My Skin Drinks Light That Has Passed Through Leaves - a fine mist of coloured light slowly changing, broken only by gently plucked guitar. Pinned piano leads the dramatical swell of strings and effected noise on Sitting In A Roofless Room, perhaps the albums most visceral and discordant moment, before fading into the distance.

The long introduction of A Season in Water holds us in suspense, as if drifting through murky water, before echoing strings emerge from out of the depths. The surge of sonics that develop is powerful and exciting. Throbbing electronics, synth cascades, washes of violins in heavy reverb, and at its height, and ending, music box chimes. At the end of this epic journey the emergent Snow Burial (While Blue Skies Gather) evaporates all heavy weights and sheds light on dark corners, climbing to its end.

These are tales of loss, cathartic euphoria, and hope from out of pain and despair. Rendered with such masterful artistry that I predict many will fall in love with Woven Tide. Mastered by Taylor Deupree and cover artwork by the always brilliant Chris Koelle completes the package and makes this a must have release.
Review from Futuresequence

martes, 17 de enero de 2012

The Caretaker - Patience (After Sebald)



Genre: Ambient, Drone, Electronic


James Leyland Kirby returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. 'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. Much like The Caretaker's oeuvre, Sebald's works are particularly focused on themes of memory, both personal and collective, making Kirby the ideal candidate for this score. Grant tasked him with soundtracking responsibilities, but rather than thrift shop shellac, the source material for 'Patience' was sourced from Franz Schubert's 1927 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.

miércoles, 4 de enero de 2012

Willamette - Echo Park



Genre: Ambient, Neo Classical.





Now this is going to look like lazy reviewing. I’m going to start with a comparison that will have all ambient heads groaning in sheer disbelief at the fact that yet another act/album is being compared to Stars of the Lid…but yes, it’s true. This album uses all the tropes associated with the widely acknowledged masters of the genre and it does so to such an extent that it practically screams ‘compare me to stars of the lid’. We’re all familiar with this comparison and it has become such a cliche that it’s essentially shorthand for ‘this is an ambient album’. Large numbers of flaccid, go-nowhere, uninspired albums have been allowed off the hook by this lazy comparison. Not only does this allow a large volume of shit to flood the market, but it also detracts from the genuine majesty that SOTL display and for which they are rightly acknowledged.

So with that aside, I am pleased to say that Willamette have managed to produce an album that is truly worthy of the comparison. ‘Echo Park’ is an album of diffuse splendour, plaintive sketches, and beautiful, wistful melancholia…all delivered with an acute sense of restraint and precision.

The 10 tracks are, on the whole, relatively brief for the genre (maximum of five and a half minutes) and, to my mind at least, this should be taken as a significant strength…ideas are not allowed to overstay their welcome but certainly never feel underdeveloped. Moods are swiftly evoked, allowed full expression and then softly dissipate. It would have been very easy to extend a few tracks here and there, drag out a sequence past it’s utility, and strive for a pseudo-epic scale for the album. The fact that the composer/s resisted temptation in this regard speaks volumes for their ability to prioritise artistry over posturing. This ‘just enough to do the job’ sensibility also informs the album’s melodic core. As with all essentially minimal music, it’s the parts that are left out that carry the greatest weight and here, each piece manages to convey a deep emotional resonance with the merest hint of ethereal melody.

The majority of the album is carried by gentle swelling pulses of hazy chords – and as such ‘Echo Park’ is clearly an ‘ambient’ album; easily listened to in the background – but when clear instrumentation comes to the fore (such as on the gorgeous ‘New York Heat’) it has a piercing effect that seizes the listeners attention and brings the music into sharp focus.

Albums of this calibre are, indeed, rare. So if there is to be any criticism levelled at ‘Echo Park’, it is probably that it wears its influences too clearly on its sleeve. Frankly though, if that’s the worst thing I can say about this album the message you should be taking away from this review is that Willamette have produced, with ‘Echo Park’, an album that could easily stand as one of the contenders for ambient album of the year.

Review from Fluid Radio

jueves, 22 de diciembre de 2011

Sean McCann - Sincere World



Genre: Ambient, Drone, Experimental, Electronic




Sincere World, which was due out almost a year ago as I understand it, has finally been released for the world to enjoy. Sean McCann has worn many various emotions and experiments on his sleeve through his musical output over the previous years. Some are wild and zany, some are more serious and solemn, some are exciting and vivacious, and others have many different nuances within the same album yet all with the same creative stroke of genius that makes McCann such a master. Sincere World is more of the serious and solemn persuasion. It’s borderline ambient, yet with the McCannian twist of personified drone. In the same vein as Fountains and Leave Today as far as subdued and quiet nature, but it has a living and stirring nature that isn’t quite as restful as those two others. This is a restless, tossing-and-turning, insomniac series of drones. They stir with a baggy-eyed longing for respite, counting sheep, tossing back a nightcap, whatever it takes to settle down and catch some Z’s. There is a calm and nocturnal nature to the ambiance, but I just don’t hear a settling down, a final stillness. To me, they kick the covers and lie staring at the ceiling in frustrated sleepless torture. Everything feels dark with only the slightest illumination that highlights the shadows on the wall. Not dark as in black or foreboding, just lightlessness. And all the anguished sleep deprivation is not anything felt by the hearer. I just call upon this descriptive metaphor because there is a stillness and gentleness that reminds you of the night, yet not all is at peace. There’s still life and movement that’s pregnant within these tracks. The best comparison would be the actions of one in bed who cannot seem to fall asleep. That said, the timbre of this album is fairly tranquil and great for midnight boredom or late night soul searching.

lunes, 19 de diciembre de 2011

Grouper & Ilyas Ahmed - Visitor



Genre: Ambient, Drone, Experimental


Grouper's Liz Harris has just released a new EP in collaboration with shadowy freak-folkist Ilyas Ahmed. Titled Visitor, the EP is part of Social Music's Record Club subscription series. The opening track is everything you'd expect from Liz, an ethereal, dark beauty with the bleak shine of wet concrete.

sábado, 3 de diciembre de 2011

Max Richter - Perfect Sense OST



Genre: Neo Classical, Electronic, Ambient



Another stunning score from this english composer. Enjoy it.
There isn´t a buy link because there is no fisical release. If you want it you have to buy it on Itunes. Sorry.

domingo, 27 de noviembre de 2011

Richard Knox & Frederic D. Oberland - The Rustle of the Stars



Genre: Ambient, Drone, Neo Classical, Experimental



Having met while performing in Europe with their respective bands, Richard Knox, one-half of ambient-modern classical duo Glissando and sometime live member of Sleepingdog (and Gizeh Records manager), and Frederic D. Oberland, founding member of the experimental collective FareWell Poetry and soundtrack composer, soon after decided to collaborate on an album and did so in accordance with a few simple guidelines: first, to imagine the album as representative of, in their own words, “a polar journey to the ends of the earth through the Arctic Sea”; to augment their own playing with that of others (string players Angela Chan and David Ramsay appear, as do Elly May Irving and Matt Clark, who contributed choir and ghost narration to the project); and to record the project in a church. No carefree cruise trip, The Rustle of the Stars instead focuses on the darker end of the polar expedition experience, one that finds madness and terror setting in over the course of a long journey that brings with it more than its fair share of hopelessness, anxiety, and thoughts of disaster. The first indication of the project's special character is the album title itself, The Rustle of the Stars being a reference to a phenomenon that occurs 450 km from the Arctic Circle and that specifically refers to a barely audible noise produced when the draught from a human breath generates collisions among ice micro-crystals in the air. But, of course, the album rewards one's attention for reasons that go far beyond an imaginative album title and concept.

Begun at their respective homes in Leeds and Paris, Knox and Oberland drew upon a wealth of instrumental sounds (electric guitar, bowed glockenspiel, and field recordings for Knox, and piano, electric guitar, field recordings, harmonium, dulcimer, and analog electronics for Oberland, to name just some of the materials used) in fashioning the initial sketches for the collaboration and then solidified them when they convened two months later in Leeds to record in the St Margaret of Antioch Church. Regardless of whether the piece in question features large, rolling swathes of rumble, guitar textures, and soaring strings (“Mist”) or places delicate pianistics against a sombre backdrop (“Le Passage du Nord-Ouest”), the material is elegiac and dramatic ambient-classical in style and features a heavy emphasis on strings and electric guitar. It's also at times desolate, with the music evoking the limitless and barren expanses of icy terrain and often cloaked in a shroud of haunting gloom. In certain moments, The Rustle of the Stars' material is sometimes so stylistically similar to FareWell Poetry's Hoping for the Invisible to Ignite it could be mistaken for new work by the band (e.g., “Sea of Bones” and “A Divide”); certainly the inclusion of a Super 8 projector's clatter (courtesy of FareWell Poetry member Jayne Amara Ross) on “The Wreck of Hope” collapses the distance separating the outfits even more, as does the track's sweeping guitar-laced atmospherics. Generally speaking, anyone spellbound by FareWell Poetry's recent Hoping for the Invisible to Ignite may very well find him/herself equally captivated by The Rustle of the Stars.
Review from Textura

sábado, 26 de noviembre de 2011

Stephan Mathieu - To Describe George Washington Bridge



Genre: Ambient, Electronic, Drone
Label: Dekorder


Buy


Hear


“To Describe George Washington Bridge” is Stephan Mathieu’s second Dekorder release in the 10″ format (reflecting his interest in old 78rpm records) after 2009′s sold out “The Key to the Kingdom”, and, we’re happy to say, again it features two of the composer’s most outstanding short pieces. Both are recorded utilizing similar methods as used on his most recent album “A Static Place” on 12K Records yet they are presented in an even more condensed and melodic way. As source material he used transcriptions made from the marvelous 25x 12inch 78rpm set G.F. Händel. “Twelve Concerti Grossi” performed by the Busch Chamber Players in 1946, and a Columbia 10″ record from 1912 with Händel’s usual smash hits from “Messiah”.

“Between 1928 and 1932 the earliest recordings of historically informed performances of music from the late Gothic, Renaissance and Baroque era were etched into 78RPM records. I used some of these records from my collection, playing them back with two mechanical acoustic HMV Model 102 gramophones. The initial soundwaves produced back then by period instruments like the clavichord, viols, lute, hurdy-gurdy are read from the grooves by a cactus needle to be amplified by the gramophones diaphragm housed in a soundbox. Those vibrations travel through the tonearm which is connected straight to the gramophones horn, which releases the music to my space. Here the sound is again picked up by a pair of customized microphones and send to my computer, to be transformed by spectral analysis and convolution processes. An imaginary room, inhabited by all the spatial information collected on the journey is created and will be projected in a final instance into the listeners space.”

Stephan Mathieu is a self taught composer and performer of his own music, working in the fields of electroacoustics and abstract digitala. His sound is largely based on early instruments, environmental sound and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Colorfield artists Mark Rothko, Barnett Newman and Ellsworth Kelly.
Review from Fluid Radio


domingo, 20 de noviembre de 2011

Nest - Body Pilot


Genre: Ambient, Drone, Experimental, Abstract
Label: Serein



A fluttering “Stillness” dims the light; three notes turn six, over restful, droney string breaths; oh-so delicate tinkering lays soft quilt, easing vex. But try as you might to find its heart, the sense of loss, and icy depressiveness pervading the nooks and crannies of Huw Roberts’ and Otto Totlands’ pianism, becomes lavishness restricted, life jacket for low mood, conceptually meeting the flight theme they’ve adapted in minimalist repertoire. Played three times, Nest’s “Body Pilot” became a record I’d seemingly known all my life, like a catchphrase that existed subconciously; Mr. Chips returning to haunt one particular moment, penetrating. “Music without pretence”, in their past words.

Remaining homebound, sentimentally fearful of non-catharsis, “Charlotte” from “Retold”, platonic contrast to this 10′. “The engines are cut and we glide silently into the white”, is what Huw and Otto propose of “The Dying Roar” when the woodwind and brass exclude themselves, into their hallmark jigsaw-piece piano. It’s no wonder Hauschka is billed for this particular series. With modern musicians, environment, like Nest’s, plays an output discriminator, prohibiting you from saving a workload, or integrating a certain source for dubbing. In hindsight of Nest’s development: the hugely successful netlabel EP, and a comparatively sold-out-direct album, while “Koretz’s Meteor” leaning heavier on Totland’s synthesizer drone of Deaf Center reverie – a glowing proposition is harder to realise – how do you follow up lauded efforts in as timeless a manner?

Nest’s answer is seemingly to forget the premise of time, making it a continuum of last efforts, not a conscience-burdening approach that makes them think “what if I’d just done this”. Otherwise, minutes may go very slow normally, or lightning bolt anxiously. By retracting sensations that apply to a traditional chronology, too, not to mention having a loyal fan base, critical spikes, both internal and external, dissolve. Objectively so because the work is high calibre enough all the time. Even the Billy-no-instruments drone lapse of “The Ultimate Horizon” manages to escape throwaway straitjacket, sub bass undercutting the tinsel field recordings that metamorphosise, overlay and ebb. Part three of the “Seasons”vinyl and digital download catalogue on Serein, “Body Pilot” is the perfect edition to the series. It’s questionable depending on your entry point what you’ll rate higher – this or past Nest. One thing’s for certain though: you could do a lot worse than sampling your own camera, catching Huw and Otto’s flight further from base.
Review from Fluid Radio

jueves, 10 de noviembre de 2011

Ben Fleury-Steiner - The Places That Find You



Genre: Ambient, Drone, Experimental
Label: Low Point



Ben Fleury-Steiner is a Delaware-based composer and owner of the Gears Of Sand label. Drawing upon his deep love of minimalism and influenced by the work of avant-garde composer Steve Reich, 'The Places That Find You ' was recorded over a two year period between 2009 to 2011.

The recording process made use of a mixture of instrumentation, including the use of the kalimba (the traditional name for a thumb piano) and the various sounds produced when played in the manner of a prepared guitar, coupled with more modern electronic instruments including effects pedals and synths. 

First impressions pull closer, strings and fizzles fall, carrying you, reaching further and ending up in an all-new place. Time is simple and less than a moment, with the lasting habit of a worn-out keepsake but nonetheless you are still immediately there again, inside those open arms and a world you have always dreamed of.

In homage to minimalism and imagination, 'The Places That Find You' by Ben Fleury-Steiner embodies an ultimate trance, the ability to connect directly with the listener and the truth behind the feeling of music from the heart. Far away but incredibly close, the five tracks forming this album never return to the ordinary but move, invert and grow, through time-lapse expressions and faded visions.

Some listeners want to be transported to other places through music, whilst others hear the technical artistry and find inspiration to delve deeper into the creative process. Without any direction and by simply following your own natural instincts, 'The Places That Find You' is a guide that places you instantly, allowing each listener to find more, not only through the music but from inside themselves.

martes, 8 de noviembre de 2011

Leyland Kirby - Intrigue and Stuff Vol. 3



Genre: Experimental, Ambient, Electronic, Drone


This Time no reviews. I´m lazy, sorry


domingo, 6 de noviembre de 2011

Leyland Kirby - Intrigue & Stuff - Vol. 2



Genre: Ambient, Experimental, Drone, Electronic



Kirby provides yet another facet of beautiful noise exploration here. Comprised of three songs, two of which clock in at roughly 12 and 20 minutes, respectively, there is a more grandiose framework to this second volume. However, as always in Kirby’s work, it’s the little details in songs that define this artist.




Embarking at 'Eventually, It Eats Your Lungs' we navigate the crests of swelling choral samples and strangely tactile blasts of blurry bass, delivered with a physicality not unlike being touched in a dream. The two elements tussle and tumble in this fluctuating mindspace, reaching irregular resolutions that still leave us baffled - in the best possible sense. After dilating our sense of time with this passage, we're briefly extruded through the cosmic chrono-chaos of 'Speeded Up Slow Motion', a piece that feels like gazing into localized miniature black hole. That's all preparation for 'Complex Expedition', one of Leyland Kirby's most breathtaking masterpieces to date. Spanning all 20 minutes of the B-side, the milk sea is curdling and we're stranded, eons away from anyone or anything.

sábado, 5 de noviembre de 2011

Nicholas Szczepanik - Candor of Night



Genre: Experimental, Ambient, Drone
Label: Self Released




Ante Algo Azul consists of 12 pieces; each will be released on a 3" CDr limited to 100 copies. The set will be sold as a subscription and each piece will be mailed individually, as it is finished. Each piece will be handwrapped in paper and, at times, a piece may also include other keepsakes like photographs, poetry, etc...

This is the third piece of this remarcable project.