An interview with Lost Tribe Sound’s Ryan Keane.

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In the first in an occasional series bringing light to those that are responsible the physical release of music, I sent off some questions to Lost Tribe Sound boss Ryan Keane. Ryan is responsible for releases from William Ryan Fritch, The Green Kingdom, Graveyard Tapes, Western Skies Motel, Part Timer and others. There will be more reviews of the LTS catalog to come, but in the meantime please enjoy this interview.

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Please introduce yourself. Why did you start Lost Tribe Sound? Did you have experience with music before starting the label? Is it a one man operation?

Hi DAF, thanks for taking the time to talk with me. I’m Ryan Keane, owner at LTS. Lost Tribe Sound originally started as a way for my buddy Andrew Sanchez and I to release the music we made as Tokyo Bloodworm back in 2007. After one self release we decided it was a better idea to release with a more established label, so we reached out to Andrew and Craig at Moteer to release our next two albums.

In 2009, I had the crazy notion I could take on releasing music from other artists. Enter William Ryan Fritch’s Vieo Abiungo project. And yes, I am technically a one man operation. Of course all the musicians, visual artists, and fans play a big part in keeping me busy. But I am the PR team, the art & video department, the packing & shipping division, manufacturing and the complaint department.

From the outside looking in you and William Ryan Fritch have a close relationship. How did you meet/come across his music? How important to Lost Tribe Sound is he?

William and I first met in Tempe, AZ where I was living at the time, he came down from Flagstaff to play a show that my musical project Tokyo Bloodworm was also scheduled to play. I ended up backing out of the show, but I’d become interested in his music from some of the samples online so I decide to attend. William and I hit it off almost immediately, discussing our similar taste in music for artists such as Muslimgauze, Manyfingers and Bonnie Prince Billy to name a few. At that point, I mentioned it might be fun to release some of William’s music he had posted from his experimental ethno-centric project Vieo Abiungo. It immediately struck me as the sound I had been hoping someone would create for years. Deep drums, modern classical elements, textured as hell, and it dipped in the realm of world music without coming off as cheesy or contrived.

It’s easy for me to say, that without William Ryan Fritch there would be no Lost Tribe Sound. He has definitely been the most crucial and central artist on our roster. His talents as a multi-instrumentalist are unparalleled. The rough-hewn and organic approach Fritch delivers on all of his releases, speaks so perfectly to the central vision I had for Lost Tribe Sound from the beginning. The fact that we still speak almost daily, and that he’s trusted LTS to release 26 of his albums since 2010, I realize is an unbelievable privilege. Fritch is my closest ally, a best friend, and the most talented individual I ever had the opportunity to work with. I always remind him he needs to remember the little people when he is famous one day.

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You also do publishing/licensing with Settled Scores. How did this come about? Do you represent other artists than those on Lost Tribe Sound?

Settled Scores is the licensing arm of Lost Tribe Sound. It has been a slow burning project since 2013 or so, spawning from much of the work for film that William Ryan Fritch was bringing in. We expanded the licensing end to include other artists from the LTS roster and beyond in 2014, working with clients like GoPro cameras and an ever-growing list of indie film makers and forward thinking companies. Including the LTS roster, we represent catalogs for a select group of artists who approach making music in a similarly rustic and unique way. The goal behind Settled Scores is to show commercial, tv and film makers that we offer a great alternative the highly overused and often times drab music that seems to dominate the industry. I personally love seeing a high action scene set to music that is more contemplative and out of the ordinary, it adds a tension and interest to the shot, that no canned “action music” could even touch (example).

I’m hoping that more directors move in this direction, as there is a big beautiful world of experimental and extraordinary music out there that deserves their attention. Our Settled Scores roster outside of the LTS catalog currently includes works from Christoph Berg, Skyphone, Aaron Martin, James Murray, Anne Garner, Wickerbird, Glacis, Kyle Bobby Dunn and Mid-Wife to name a few.

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What quality do you look for in a release for Lost Tribe Sound? Do you accept demos?

There is no set genre or style I hold a LTS release to. I am more attracted to the vibe and mood the music offers. Usually, LTS releases tend to be less electronic, with a focus on real instrumentation. Not to say they can’t feature electronic elements but it is more about the nature in which they are treated. I love music when it is hard to place a time or region it may have come from. Of course rustic, dark, pulsing blends of folk, classical and ancient sounding rhythmic oddities always hit the spot, yet I feel like we also managed to created our own intriguing take on pop, indie and rock music as well. I’ve tried to get in the frame of mind of gathering more seasons within the music, yet the winter and fall toned music always seems to have the biggest draw for me.

Not opposed to receiving demos if the artist has really checked out the music we release and really gets it. Most LTS releases come by way of a friend of friend type situation, but every now and then I come across an artist and fall in love, enough to reach out to them and see if they are interested in releasing on LTS. It’s just hard releasing all the music I enjoy on the label. Just because I like an album doesn’t mean it is the best thing to release on LTS. I have to really love it, usually listening to it over a period of month, to make sure the music stays with me emotionally. Running a small operation I have to be overly picky, since one or two poorly received physical releases can really make or break my budget.

How important is the visual identity of packaging and format to the label? It’s a pretty huge part of label. I’d say the artwork is the second most important part of the release, outside of the music sounding amazing and carrying the right impact. Keeping with the vibe of the music, most of the artwork we choose fits that timeless, rustic vibe I am a sucker for. Sometimes the artist brings the art to the table and other times, I get to work on the artwork and design from scratch. This happens to be my most favorite things I get to do running the label. We’ve had the chance to work with some of the most amazing visual artists over the years, like Joao Ruas, Gregory Euclide, Jamie Mills and Sail. They’re some of the most exciting illustrators and fine artists in the modern-day, so blown away by the depth and detail they bring to their art. I always try to treat each LTS release like a piece of fine art, from the cover design to the music within.

Sometimes I creating handcrafted packaging to give it the feel it deserves, hopefully coming off like a precious artifact. For example, the new panoramic CD editions for this year’s Prelude to the Decline (Subscription Series), I wanted to design a case that felt substantial and provided a much larger canvas for the artwork than standard CD packaging provides. I tested a lot of materials and different paper stocks in the design, also figuring out how the metal screws would work into the design. The end result feels and looks amazing, so hopefully when fans hold them in their hands they will get a sense of how much love went into them.

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2017 is a pretty ambitious year with the great Prelude to the Decline series. Have you looked beyond the year or are concentrating on the releases from that schedule?

It has been an ambitious year with the series, perhaps too ambitious, as I’ve barely had time for anything else.  I’ve already hand-built over 600 CD cases, hand-numbering them all, along with the hand-numbered the vinyl editions. Oddly enough even with the generous deal the subscription series offers, the response to subscribe to it has been slow.  Not sure if it’s just the uncertainty times we are living in or what, but I stand behind it as perhaps the greatest thing the label has managed to pull off.
We are still looking to the future with Lost Tribe Sound, we have a few amazing releases lined up for next year already from a couple of my favorite artists Skyphone and Spheruleus, along with a brilliant new release from a lesser known artist, Phonometrician, that should have fans drooling. Fritch may go into a slow down period in 2018. He’s been on such a rampage of releases over the last few years, we figured it might be a good idea to put some distance between them. Perhaps this will help folks realize his brilliance and better appreciate his work. That said, we may still have a surprise or two from him in 2018.  We’ll see how many more years of LTS I have left in me. I treat each release like it was my baby, so it is not always easy on the psyche when a release does poorly, or is just not well received by the public.  If I am no longer feeling useful to the artists or the music community any longer than what’s the point.
I think a lot of labels face concerns of adequacy, I rarely mention it publicly with regard to LTS.  But it is always in the back of my mind. Pushing to get real press for a release, selling enough copies to have a physical edition make sense, and being able to pay our artists something decent always stresses me out. My main love has always been the music, but not being able to create a beautiful physical edition anymore would really make me lose interest. The fans we have are very supportive, and send some great encouragement (usually when I need it the most), but it still bums me to see those waste-of-space download sites passing around our artist’s releases for free like they’re worthless.  Moaning aside, I think real music fans know to show their support through buying the music from the labels and artists they love.  It’s so vital to continuing to bring high quality music into the world.  So in that, I have hope for the future of LTS.

 

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Many thanks for Ryan talking the time to answer my questions. You can find out more about the label via the following :

Losttribesound.com

Losttribesound.bandcamp.com

Soundcloud.com/losttribesound

https://www.youtube.com/user/Losttribesound

Alaskan Tapes – In Distance We’re Losing.

I have to admit being unaware of Brady Kendall aka Alaskan Tapes. For whatever reason his name has not come across my radar. Over the years he has released a series of singles and three self released vinyl lps, the latest being “In Distance We’re Losing” which came out on August 10 in an edition of 100 clear vinyl and 50 Digipak CD copies (alongside Digital).

According to the press release “In Distance We’re Losing shows the fragile, and isolated side to Alaskan Tapes’ music. Focusing on evolving layers of instrumentation throughout long pieces, showcasing the textures of cello played by Raphael Weinroth-Browne, minimal guitar melodies, as well as incorporating vocals from Jay Rodger and Chantal Ouellette, In Distance We’re Losing combines the intricate melodic elements of modern classical composition, with the classic ambient techniques Alaskan Tapes’ is known for.”

I have a soft spot for artists who don’t rely on someone else to release their music. It shows in their dedication to what they are doing with their art and also in their belief in themselves. The album was prefaced by two single releases in “Maybe (feat. Jay Rodger)” and “Blue, In Script ” alongside a video for the former.

The album starts with the before mentioned “Maybe (feat. Jay Rodger)” which combines London-based Rodger’s double tracked vocals alongside plaintive piano. Normally vocals are not my thing, but Rodger has a great voice and one that is probably suited for a mainstream audience such as its quality. The piano leads into an ambient section which combines gritty static alongside drones, guitar and Rodger’s harmonizing vocals before the piano returns to the fold. An impressive start to the record.

“Paths” starts with a slow drone that evolves and sounds like some sort of squeezebox/bagpipe, but is more likely Weinroth-Browne’s cello which is slowly played and stretched out to a long drone and manipulated and layered alongside subtle guitar playing that takes more of a lead in the second half of the track to which it becomes the more dominant motif as the drones retreat further in the mix.

“In Distance We’re Losing” the title track combines Field Recordings that evoke a port or central city area while a squall like sound with static like glitches alongside Kendal’s Post Rock like guitar and swathes of ambient synths. The elements fuse together smoothly with the guitars being layered to give texture and rhythm and the ambience to give light. As the track continues the balance of elements changes to the point where the field recordings dominate to a point of almost noise.

“Blue, In Script” centers around minimalist piano while spindly drones and forlorn cello form the base for ethereal vocals by Heather Mcalendin to float above. The majority of elements drop out to reveal a short guitar section that was largely hidden before the piano takes center stage, until dark ambience like an impending storm with the occasional bird chatter and loops sees a return of the guitar lines alongside piano played in a choppy style. In the almost six and half-minute duration there is a lot of sonic territory is covered.

“Hours (feat. Chantal)” static, field recordings, drones and (presumably) the voice of Chantal Ouellette open this track before Eno-esque ambience, chiming guitars and cello come together with the cello taking center stage as the vocals get swallowed up in the mix only to fight back to front and center. The sound then becomes uncluttered with the guitars playing alongside Ouellette’s harmonies as for the first time on the record beats enter the fold alongside field recordings and male harmony vocals (possibly Kendall himself?) to a point where the phrase “This Can’t be the End” is repeated. The field recordings which appear to be manipulated water sounds build up in volume and lead into the intro for “We’re the Only Ones Here” which also uses the distorted/manipulated field recordings alongside before contemplative guitar is joined by short sections of looped distant percussion, bass guitar and drones which threaten to turn into a full-on post rock track only to subside to focus on the bass and field recordings. If this had become a full-on track in the direction it (in my opinion) looked to be heading it would have worked very well.

“Because Finally It’s Everything” spindly guitar based drones coalesce and grow with additional drones from cello fusing with haunting ghost like recordings to form a grand modern classical drone track. The recordings of the cello (made by Kendall) are vibrant and are layered over the other elements in way that brings them to the fore without drowning out the other elements. With the final two minutes returning to a quieter tone, it gives a sense of melancholy or despair as slightly muted piano comes in giving the track an extra emotional feel to it, which is similar to that of the cello.

“Tomorrow’s Song” found sound like field recordings of things being moved, taken away are joined by two drones in with different timbres that are joined by a third. They grow in intensity slowly building up, oscillating while the distant field recordings creak and clang. The drones disappear with one and a half minutes left to go and the shuffling of things, the moving around a room, openings doors continues with accompaniment of muted piano.

When artists make albums sometimes they can end up with material that is very familiar sounding to each track. With this album Alaskan Tapes has used a variety of different sounds and subsequently there is enough of a difference to each track so that it doesn’t fall into the ‘samey’ category (although sometimes there can be a slight over reliance on the same sort of drones). Kendall has followed the goals set out in the press release of evolving layers and showcasing the various vocalists and the cellist. It would be interesting to see more of the guitar and beats enter the mix (ala Lowercase Noises) as combined with the ambience, the piano and cello I think they would complement Alaskan Tapes’ music. Overall an enjoyable release with credit going to Kendall, the guest artists and the fabulous mastering from the ever-present Taylor Deupree.

Emilìa – Down to the Sadness River.

Recieving an email from Rotten Man I opened expecting to have been sent some sort of Noise release. I had not heard of Spanish imprint and purveyor of art,  Rottenman Editions until now and was pleasantly surprised by this too brief release. Emilía is the duo of Lee Yi and Meneh Peh (aka Vanesa Jimenez) who both previously recorded under the Niñocometa moniker (releasing the “Tukae” back in 2012).

Yi and Peh construct the album using only bowed guitar and piano to stunning effect. Recently I have been listening to music composed with lots of different elements and instruments, so it is quite a refreshing change to listen to something constructed with such few instruments that is so rich in sound.

“Emilìa and the Unknown Kid” starts off with layered droning bowed guitar that has different depths and textures to it with one having a more melodic drone tone with the other gives a darker tone. A third bass drone cuts through the two as the three of them wind around each other to form an orchestral section that is reminiscent of a string section.

“Emilìa” fuses affected muted piano with loops, clicks and sounds that oscillate out and glitch. There is a submerged feel with the track having a murky feel to it. The track starts with a jolt as if a stylus has been placed mid track and the record player started. It would be interesting if this track was longer and maybe flowed into a more conventional modern classical track.

“Down to the Sadness River” is such a brief track, just 66 seconds long, but the bowed guitar sounds like one of the intro/outros that My Bloody Valentine used on the “Loveless” lp. It has a combination of drones with the guitar cutting across, but also a pleasant melody.

“The Sewing Room” starts with a single siren – like drone and then features multi layered drones that fuse together to create this string section that sound like they are accompanying a suspenseful silent film. The drones dissipate to leave a pair that cross over each other in arching fashion.

“Strange Light” melancholic with a sense of foreboding as the bowed guitars create both traditional drones and sounds like a violin section that is making music for mourning.

“Solemn Silence” is the shortest piece at 34 seconds, but is the most cinematic with the music giving a visual sense of someone who is driving away, at night in the rain from something that has caused them alto of despair.

“Fish Market” sounds more like a traditional guitar track with the scraping sound while it is being bowed. A high reaching , apocalyptic sounding drone underlays it which in a way counters the mood of the guitar, which comes across as having a sense of quiet acceptance and understanding.

“One of his little shoes” makes you question the sound source. Surely this just can’t be only bowed guitar and made by two people. The piece is multi layered with both light and shade and while only 56 seconds long shows both Yi’s and Peh’s ability to construct such beautiful vignettes.

“Oil Bread” features muted piano that has a light, soft feel to it with delicate tones that seem to be contained as if they were trapped in a bubble. It’s almost like they are held back from being long notes. They are just so delicate, non-over powering and it gives the track another dimension than being a stock standard Modern Classical track.

“Close” year another short track that starts with frantic bowed guitar that are underscored by a bass – like sound,while notes sweep with melody above it. Another all too brief track ( 57 seconds long) as just when it when it appears to venture into new territory fades out.

The use of the color blue for the artwork gives an indication to the mournful quality of the music. While I am aware of some sort of back story to the album by the titles of the tracks and as I wasn’t given a press release, I would hasten to have a guess at the overall theme and/or inspiration. All I can day is that these 10 beautiful pieces are over too briefly and the album leaves you wanting more.

This highly recommended release comes in a limited edition of 20 handmade copies with cyanotype on canvas and small numbered artwork/prints (see below).

Drifting, Almost Falling – Spotify playlist

I have put together a playlist of artists that have or will be featured in this blog. Only one track per release per artist and naturally only those that have their music featured on Spotify. This will be updated when more releases are featured on this blog and/or available on Spotify.

Taylor Deupree & Marcus Fischer – Lowlands.

The third release in Iikki’s audio/visual pairing comes from the musical duo of Taylor Deupree and Marcus Fischer paired with the photographs of Ester Vonplon.

Taylor Deupree and Marcus Fischer are well known names in the Ambient/Electronic community with the New York based Deupree running the highly respected 12k label as well as being an in demand masterer and musician himself and Fischer a regular collaborator with Deupree (“In a Place of such Graceful Shapes” and “Twine”) and the man behind the highly influential “Monocoastal” album. Ester Vonplon is a Berlin trained Swiss photographer who traveled to Spitsbergen in the Arctic Ocean in summer 2016. She sailed the ice-clogged seas of the Arctic Ocean on a three-masted sailing vessel, to capture the impressions of the calving glaciers and melting ice.

This journey in the Arctic Ocean was the perfect beginning for Taylor Deupree & Marcus Fischer to compose and record Lowlands.

Iikki states Deupree music “emphasizes a hybrid of natural sounds and technological mediation, and shows a marked attention to the aesthetics of error and the imperfect beauty of nature, marked by a deep attention to stillness, to an almost desperate near-silence” while Fischer’s “work typically centers around memory, geography and the manipulation of physical audio recording mediums. Slowly unfolding melodies and warm tape saturated drones have become a trademark of his recordings.” Both these descriptions are evident in the music that makes up “Lowlands”.

“Lowlands” starts off with toy like piano, field recordings with a static haze quality to them, distant bells, occasional guitar. The track has a dreamy quality with a combination of muted sound and then a crystal clear guitar piece that gives the track depth. Its almost like the images contained in the book of something submerged and then being revealed. There is also the occasional warped sound as if something has been left to the environment has changed shape. There is a bass hum that comes towards the end if the track, that if listened to in a car has the power to vibrate the vehicle.

“On Branches” starts with what sounds like someone going off to record something and they are setting to their dictaphone. Bells chime, scratching sounds, detritus, old micro Caretaker like sounds are buried. Loops abound, but not obviously. The main feel is of decay, like something is breaking down, but the track loses most of the clattering sounds to a nice ambience at the end.

“Rides” Drones, glitchy tones, warped melodies, guitar plucks build as the track starts off slowly and picks up speed with a kaleidoscope of sound as if wheels are spinning towards a descent. Percussion, mostly cymbal sounds like and sticks clatter making the track denser. Towards the end most of the elements fall away.

“Migration” guitar leads off this track , with a warped sound, treated guitar sounds of shuffling or of sanding wood, light drones that give the affect of a clear sky. The memory of fellow 12k artist Seaworthy comes to mind with his fusion of sound and guitar.

“Sometimes” has a hint of an eerily still early morning with electrical buzz, ambient drones, chimes, occasional beats, but not in the traditional sense. Buried guitar slowly makes its was out of the background, while drones float. Some of the electrical like sounds remind me of recordings where people have recorded the natural environment and the sounds emitted by the earth.

“Snow Slowed” goes hauntilogical with buried sounds under a veneer of dust, with haunting drones, broken piano and a bright becoming harsh drone which sounds like an icy gale whipping around the environment.

“Cascaded” warped sounds caress effected guitar in a loop like fashion with an underbelly of crackling static and detritus. Tones flitter and break down, chimes generated from the guitar give a xylophone like tone. Slow drones, with a slight high tone hold the middle ground for the detritus underneath and chimes on top.

“Rivers” a violin drone cuts across the beginning, with melodic under play looping around, guitar is picked carefully, clattering field recordings, dark cello like drones which give ominous edge buzzsaw across, sounds which remind the listener of a childs jewelry box bump into each other and the sounds of a breeze swirling around are all included in this track which has the most clearest if sound palet on the album. It naturally finishes with recordings of water.

The obvious thing for musicians to do would be to make a heavily water based record with a glacial feel to it to emphasize both the coldness and the the slowness of glaciers calving and melting. To their credit Deupree and Fischer don’t, they follow the descriptions of their styles that the label stated above to a tee. The recordings made over the period of 2014-2017 come diverse areas such as Reykjavic and the duos own areas of Pound Ridge and Portland respectively. The recordings do have a feeling that they can be applied to other themes as they are not rooted in one sound. My only complaint would be use of warped sounds over several of the tracks. While it makes them share similar element, it appears to be slightly overused.

Josco & Spheruleus – Folded Distance.

If you are a fan of Ambient/Drone (you probably wouldn’t be here if you weren’t) the name Harry Towell would be one you were quite familiar with. Harry records as Spheruleus (and also Magnofon) and has appeared on labels such as Home Normal, Hibernate, Analogpath and Time Released Sound to name a few. He also runs the Audio Gourmet, Tessellate, Whitelabrecs and Warehouse Decay labels and started the Irregular Crates blog/label.

Josco (aka Gerard McDermott) is a writer, photographer, curator and sound designer from the Republic of Ireland. He is currently based in China. He has previously released on the Somehow Recordings label and has created compilations devoted to Irish music.

“Folded Distance” which was recorded between March 2011 to March 2016 “is a record about travel, but it is also about staying where you are and staying where you feel you belong. One of us moved around a lot and the other stayed relatively still; although we were geographically separated, we could communicate instantly across the incredible land mass between us -the more we set about weaving Josco’s drones and the exotic sounds of Asia with the sleepy rustic fields of Lincolnshire and Spheruleus’ instruments, the more the concept of “Folding Distance” became apparent to us, and the more it became realised by us.” The album was influenced by distance and the artists ability to communicate and collaborate weaving their sound recordings (from Turkey, Ireland, UK, Morocco and Thailand) to their own experiences. The album was mastered by Home Normal boss Ian Hawgood.

“Samila” presumably influenced by the beach in Thailand opens with the squall of a storm with static billowing and wind like drones that emerge from the dying storm. The drones are layered giving different tones and are looped with an almost exhaling like sound. The field recordings of the environment return as the storm/wind pans from side to side with granular sound before acoustic guitar comes in gives the track a different feel, one of contemplation. By the end of the track the ebbing storm has taken over and it fades to silence.

“Kilis” presumably after the small town on the Turkey / Syria border features acoustic guitar over field recordings of conversations (possibly workers at a market?) while Synth drones soar above and below. The elements pan from side to side with the occasional field recorded music entering the mix. The drones dominate the track but don’t convey the tortured recent and past history of the place. That said there is a mournful quality to them.

“Tungsao” containing field recordings of the market place of the same name is an environmental sounding drone piece, with wind like drones that are cut up, utilization of field recordings to form sounds, recorded traditional percussion, delicate piano, cooking sounds like glitches all thrown into the mix. You get the feeling of something similar to the Freeform albums that came out on the Quartermass label back in 2001/2, like this piece is an audio diary to a specific experience.

“Praterstern” named after a station on the line U1 and line U2 of the Vienna U-bahn is the noisiest track on the album thus far. Opening with low-frequency noises, static, some sort of indefinable noise like things being dragged (but with effects), vinyl crackle, short intertwined drones, a very low bass noises and electronic rubble noises.

“Kru Ze” the longest track on the album starts of with what sounds like an airplane getting ready to take off, joined by sounds of decay, electronic bells, guitar like feedback drones, static dissonance, jarring drone. But while there is a darker element to the track, it is not too bleak.

“Solva” a fishing town is on the lower west coast of Wales and this track is a welcome respite to the ferocity of “Kru Ze”. It contains looped vocal drones alongside traditional ones. There is almost warped pastoral feel, like if a piano accordion that was broken was being played in short bursts of sound. As the track progresses there is a wash of noisier environmental degradation with the looped vocal being the counterpoint to the growing storm and clattering noises.

This album is different to one that I was expecting. I was expecting a rather straight forward pairing of two distinct sound sources in a more ambient fashion. What we get is a more environmentally born album that is open to the interpretation of each listener. There is a lot of depth to the tracks and the density is apparent. For listeners who prefer the noisier end of the Ambient/Drone spectrum.

Toàn – Histós Lusis.

​Once more Eilean Rec has found a gem. Toàn (real name Anthony Elfort) is a French electronic musician based in the UK. As a beatmaker, he has produced several albums mixing jazz and hip hop influences under the pseudonym of Qiwu Selftet. With the change of name to Toàn the focus is now on freer musical forms, close to ambient and modern classical. His first album “Histós Lusis” (which translates to “He Played Histos”) was constructed without using any synths and entirely composed by samples found on old records, live instruments and field recordings. The album was composed between 2015 and 2017 in Angoulême and Cruguel in France.

The album has a feel of a well crafted cinematic mix of elements like every single structure, instrument and style was carefully thought out and executed well. This is not an album rushed or one to rush through. The pace of the album is very gentle and it flows smoothly.

“Inland” combines water sounds with chimes, clips or fragments of sounds, drones, violin, horns and bells to create a percussive mix of elements that mold together and overlap each other in a flowing motion. The mix of field recordings including the water work well amongst the more mysterious sounds that are generated from both the fragments and the violin.

“Post Tenebras”  (“After Dark”) opens sounding like something from Canadian duo Hanged Up, before vinyl crackle and piano are joined by bells, triangles, oriental sounding wind instruments and strings to give the track a very cinematic feel. The pace is relatively slow, with elements slowly filtering in and out with the strings steering the track through the elements.

“Une Touche De Pluie” (“One touch of Rain”) naturally starts with a storm clattering on pots and pans catching the rain with this long dense drone with a sound that reminds me of Marconi Union. The drone is elongated and fills out the sound with waves and pulses and is overlapped. It’s like a pebble being thrown into water and as it ripples out, the next ripple starts forming.  Slow cutting violin intersects with micro elements of percussion before martial like free jazz drumming and mournful noir violin and scrapping percussion bring the track to the end.
“Ghostly Ballet” starts almost like the previous track ends with a scrape of a gong, brushed cymbals, clattering noises, alarm noises, static noise, piano alongside horns, violin and a muffled shimmering drone that rises and keeps building up with a variety of percussive devices creating a cacophony of sound before dropping out. The sound landscape becomes formed with the sounds of running water, harp, violin, plucked Asian instruments, bells, chimes, drums and humming underlying tone. Elements collide with so many sounds that the track covers many genres from free jazz, ambient, sound art, Electroacoustic and bears the artist’s Jazz and Hip Hop past.

“Plume” adds piano over broken beat looped crunchy sounds, scraped metal sounds, field recordings, bells and violins. The piano segment has a ‘running feel’ which is joined by fragments of jazz drumming, growing string drones, metal Neubauten-esque percussion and the regular paced bell. There is a post apocalyptic feel without it degenerating into an industrial pastiche. There is a strong feel of loneliness and isolation, but with out total melancholy that would render the track bleak.

“अरोड़ा” ( Hindi for “Aurora”) mines the Basinski territory with subtlety crafted ambient loops that are then joined by static, mournful flute, with buried micro elements like strings, percussion, harp, glitches that slowly build over the languid pace of the loops. There is something relaxing listening to something that appears to be growing organically while you listen.

“Unsolved” stabs of piano travel out in ripple effect over vinyl crackles before muted horn punctuations, waves of ambient Synth, glide above the piano. Asian percussion and string instruments change the feeling of the track from a smoky droning jazz track to one colluding with Chinese classical music down a dark and mysterious alley way.

“Une Si Délicate Tempête” (“A Stunning Storm”) is the longest track on the album clocking in at 12:43 and the sound pallet matches the title with its volume and its depth of sound. What appears to be a kaleidoscope of grainy sounds, violin and field recordings clatter and glitch about with ebbs and flows much like a real storm where there is a a break before the template changes to a more Electroacoustic ambient sound and then veers into broken piano and strings with the granular drones and sounds returning before the calm is over. At first the track tends to lead you to an expectation that is turned on its head around the four minute mark, which in a way sums up this album as a whole.

While quite different to his Jazz/Hip Hop work “Histós Lusis” shows Toàn’s ability to create vibrant sounding records that show a richness to sound, which in this case was expertly mastered by label boss Mathias Van Eecloo.  Although physically sold out at the label it is available via the artist and soon Stashed Goods or Experimedia.