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

William Ryan Fritch x 2 – The Old Believers & The Sum of the Parts.

If there ever was such a relationship between a label and its artist that is responsible for such a wealth of material as there is between Fritch and Lost Tribe Sound, I would be surprised to find one. 2015 saw the “Leave Me Sessions” series which saw a total of 11 albums (over six and a half hours in total, spread over CD, digital and vinyl) released to subscribers. Lost Tribe Sound has released over 20 of his albums including those under the Vieo Abiungo moniker.

“The Old Believers” and “The Sum of the Parts” were two soundtracks that were part of the aforementioned “Leave Me Sessions” and sees them gain a wider release with both releases getting new artwork and “The Old Believers” having an additional 8 tracks from other works that compliment the original album. With such a wealth of material , I have selected tracks from each release to focus on.

Lost Tribe Sound boss Ryan Keane has this to say about these albums: “It should be noted, that calling ‘The Old Believers’ and ‘Sum Of Its Parts’ soundtracks paints an incomplete picture. Too often the genre or classification of “soundtrack” brings to mind sloppily arranged carbon copies of a film’s cues; often just a few main themes and a collection of one minute tracks that, when not set to picture, fall short of an overall worthy listen.”

This last statement is noted when listening to these albums as while short in length (length ranging from 1:14 to 4:06), the pieces don’t seem to be vignettes or have a different musical style to represent different moods. You would be none the wiser if you did not know of their soundtrack status.

“The Old Believers” is a documentary short film that tells the story of a group of Russian Orthodox Christians who are attempting to preserve their 17th century way of life in 21st century America and coping with surrounding modernization and internal conflicts.”

“Of A different time” opens the album with violin drones and cello that cut a mournful feel and also one with a hint of nostalgia laid over the faintest fielf recordings. Shimmering strings lead into a section of isolated percussion while violin repeats a fast rhythm that drops out to return to the original mournful cello and an ambient sounding string section to the fade out.

Acoustic guitar with gentle tones comes into the mix on the track “Clouded Was Every Prospect” (not on the original album) which becomes the bed for a variety of string sections such as cello and violin to attach themselves to and veer the piece between such styles as folk, modern classical and ambient. There is deft texture and layering of instruments that give both depth and feel to the piece. Judging by the title of the track but not seeing the film, it’s for a section of the film presumably where no decision is ultimately the best one. This could be heard in the musical territory covered.

“Left to Wander” sees percussive guitar that is roughly plucked and strummed with some minimal bass drum beats woven into an alt – folk tapestry with different speed of instruments as strings such as cello and violin with some clattering, while others are gently strummed. Sounds like something that could come out on the Constellation label.

“Still and Dense Solitude” (not on original album) sees layered classical guitar with a slight Spanish feel accompanied by the bass rumbles of cello and soaring violin with all instruments propelling in the same direction and speed. As opposed to other tracks that see the instruments and their sounds juxtaposed, these sounds compliment each other and they all build up with the same pace in the second half of the track.

“Who fell the Last Tree” (not on original album) fuses a lush Ambient intro alongside picked and scratchy violin with field recordings and a haunting multilateral drone and percussion. The field recordings which sound like someone walking through snow are paired with a shaker like instrument that gives the impression of an axe being swung into a tree. The Ambient touches, the first for the album give the track a much different feel than others while still retaining the core instrumentation and overall theme.

“By the Letter” is a beautiful interlude with gently played acoustic guitar with a lead element played over the rhythm that has a feel of distance , while a near silent drone slowly increases in volume from the shadows to be the feature element as the guitar almost abruptly stops. When listening to this track I am visualizing a scene where images of the past are superimposed overprotect times.

“We Fear Change” is a multi layered piece with at least five different things going on at the once – from the likes of delicately finger picked guitars, bass drones,violins and percussion elements (but maybe not traditional percussion instruments). A highly layered and textural piece that while packed with elements is not stuffy or claustrophobic. The layered guitars propel the track with the elements like violin providing the mournful quality like the title would imply. Possibly the standout track on the album.

“The Last Frost” is pure drone piece where a central drone emerges at a slow pace that is vibrating while accompanied by a lighter melodic one which is mimicing its texture, while a more celestial drone starts creeping in trying to come through which it briefly does just before the track finishes.

“The Old Believers” features a similar motif to that of “We Fear Change” and “Clouded Was Every Prospect” in respect to the guitar playing which has the natural unadorned picking style. It doesn’t take long for other elements to come in such as bass drum beats, violins, drones and very sad sounding cello. Fritch gives each instrument its chance but also gives the track the space to breathe with elements such as the cello and drones retreating and the focus being brought back to the rhythms created by the acoustic guitars. It is a well measured track with sections that overlap give depth and continuation.

“‘The Sum Of Its Parts,’ the feature film from award winning filmmaker/editor Fiona Otway’s introduces some of the world’s foremost robot researchers alongside tomorrow’s future leaders in robotics. This film explores the messy front lines of the crusade to make robots part of our everyday experience. From initial sketches, to soldering wires, to programming actions and performing experiments “in the wild”, scientists, high school students, and artists obsessed with bringing robots to life are shaping a new era in our relationship with technology. Yet, by observing their successes and failures along the way, what becomes clear is that robots actually have a lot to teach us about what it means to be human.”

The obvious idea for composer when writing for a film that is about robotics and future technology is to do a futurist (or retro futurist) electronic soundtrack. Fritch doesn’t take that approach, instead he ops for making the music more orchestral, large scale and sounding epic.

“The Sum of the Parts” has a radiant drone opening this string driven mini opus with the quality you would expect from a Clint Mansell soundtrack. Cutting strings, bowing cello’s and drones wrap around each other, building up each layer with a driving quality. The feel is reminiscent of a scene of a movie where the central or climatic part of the movie is happening. Subtle bass drum keeps the pace while the strings build up speed.

“Idling” is a short track with an ambient loop leading the intro makes you think it will remain in this genre, but it becomes a string driven track with a ‘glassy’ ambient feel. The combination of cello and violin mixes with the prominent ambience and acoustic guitar to a very light and summery feel. Is like a modern classical track without the austerity.

“Mechanized” You get the feeling of wonder when listening to a track like this at how one artist can come out with such layered pieces such as these. With violin strings sawing over the thump of a cello accompanied by a swarm of strings that’s literally at least 5 or 6 different sections all working together in support if each other. Time is given to let each instrument shine with elements being tge focus before retreating into the background to reveal itself once more.

“Gnashing Metals” starts with a thump of cello before entering a section of a series of violin pieces, presumably prepared piano with a toy like sound and picking or scraping sounds of string instruments to create this motorik piece that has a driving nature and falls in this almost bleak apocalyptic alt-folk sound with its clanging instruments.

“Unfounded” the return to the cinematic soundtrack as mentioned in the title track is the hallmark of this track. All encompassing ambience with classical strings that move in a glacial pace and have a haunting mournful sound to them. The strings lilt and waft before xylophone heralds in the low timbres of the cello to add bottom drone that is almost entirely droned out by the strings as they gain in intensity and and total domination over the track till towards the end where just the ambience, xylophone and bass drum remain.

Throughout these albums Fritch shows his musical chops in the form of composer, musician and recorder. His strength lies in his ability to construct multi layered pieces with an attention to, structure and how the instruments work together. If I were to chose between these two albums Would pick “The Sum of the Parts” purely because my taste leans more to the cinematic feel than the more rustic Alt-Folk that his is familiar with. However, both albums are recommended.

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.

Enrico Coniglio & Matteo Uggeri – Open to the Sea.

Dronarivm return to the musically fertile country of Italy for their latest release. Although the release is credited to Enrico Coniglio and Matteo Uggeri there are a decent amount of collaborators on this release such as vocals/lyrics coming from Francesca Amato’s (aka Comaneci), Lau Nau, Violeta Päivänkakkara and British actor John Guilor.  Extra brass from Fabio Ricci (Vonneumann), electronics from Guilio Aldinucci and Stella Riva (Satan Is My Brother) and mastering by James Plotkin rounds out the collaborators.

The label describes the collaboration as s result of fruitful email conversations and describes the collaboration as “Sweet and minimal melodies on piano, organ and guitar of Enrico meet the efforts of trumpet and drums of Matteo whose electronics treatment and delicate beats provide the solid ground to a music that seems a perfect match of the two artists sensibility.  “Open to the Sea” explores a variety of merging organic sounds where the calm and intimately of the album is disrupted by incursions of gentle noises and sometimes curious juxtapositions.”  

Coniglio describes himself as a Guitarist, environmental sound recordist and sound artist with an interest in the landscape aesthetics. He has previously appeared on labels such as Fluid Audio, Crónica Electronica, Taalem, Glacial Movements as well as co-running the digital label Galaverna. 

Matteo Uggeri is a frequent collaborator with releases with artists such as Andrea Ferraris, Maurizio Abate and Christiano Deison on labels such as Hibernate, Time Released Sound and Scissor Tail to name a few.

“Open to the Sea” starts off with Francesca Amato’s sweet sounding double track voice reciting the title. Ambient tones and granular glitches start the track which is no hurry floating at a gentle pace. Lau Nau’s haunting vocals float over the soundscape which is building in intensity ever so slightly before violin cuts through and field recordings of possibly a market place enter that are crisp enough to make you think they are there in the room with you. I would file this under electroacoustic sound art than as ambient per se.

“Jessaias de reduire mes medicaments” begins with Scanner-like recording of a phone conversation/ interview which is joined by melodic ambient tones and musical saw like drones which are peppered by glitchy electronics that are pulsing and phasing. This short track combines the experimental elements alongside the more the melodic electronica and fuses them together well.

“Up Over The Harbours Lights” Coniglio’s guitar opens the track in a blues like style alongside ambient drones that coincide with the final strum of the guitar before piano, industrial sounds, field recordings and samples enter the sound mix. The track shows the musicians soundtrack-esque construction to create a sound palate of dissimilar origins to work together.

“I Am The Sea” features Violeta Päivänkakkara on vocals and lyrics and starts with her ethereal vocals before melancholy minimal piano, guitars, synths, distant percussion, bells, electronics and trumpet fuses together to form a track that is so many genres mixed into one. The haunting trumpet that cuts through mixed with Päivänkakkara’s vocals, alongside piano and electronic and traditional percussion works so well as it covers post rock, electronica, Electroacoustic and soundtrack works so easily.

“Floating Metal Sheets” this experimental sounding track sees assistance from fellow Italian and Dronarivm artist Guilio Aldinucci. This track starts with acoustic guitars and some sort of background percussive noise source that I can’t get my head around. Some crackling electronics start and flutter with drones lightly covering them as a rolling noise pans left and right. Trombone joins the track with an effect similar to a car slamming on its breaks, before changing to slow mournful blowing over the acoustic guitars while electronics scatter about.

“Dutch Street Theatre” features UK voice over artist and actor John Guilor who has worked on Dr Who. Guilor’s narration is laid over piano, drones and violin and field recordings of people talking. I am not sure where the narration comes from and whether it is related to the theme of this album, but it doesn’t personally work for me.

“Now I’m Silent” starts with an electronic heart beat sound paired with darting drones, piano and percussive noise with electronic whistling, before venturing into jazz territory with wailing trumpet and electric guitar, disjointed gunshot drums. It’s a track of two quite separate halves that work well separately, but take time to get used to the differences.

“Allarme” begins with a broken piano like opening, before alarm sounds pan in and out and glitch electronics, cymbals and piano are gently caressed. Field recordings, possibly of radio or loud-speaker transmissions traverse the piece that is being slightly held together by piano while non traditional percussion rattles and rolls with brass instruments and intermittent sounds. Again Coniglio and Uggerri manage to fit a lot of source material in a piece that while at times seems like a juxtaposition, but also compliments one another.

“I Say I May Be Back” sees radio samples and static overload piano with a hint of paning banjo, guitars and percussion that has a nautical feel with Francesca Amato’s vocals that bring the album full circle with the recurring title line. The instruments one by one break down leaving Amato’s voice to finish out the album much like she started it.

“Open to the Sea” is not a straight forward album to get a handle on. There are so many constituent parts that make it up and it covers Ambient/Drone/Post Rock/Experimental/ Electroacoustic genres, sometimes in the same track. The thing it has going for it is it’s unpredictability and it’s depth is that it’s not a release that can be easily glossed over. Most of the tracks work extremely well and the depth that James Plotkin has gotten in the master allows for that richness and shows why he is one of the most popular masterers around.  There is a special version of the release limited to 50 copies which comes with a jigsaw and bonus digital ep.

https://soundcloud.com/dronarivm/i-am-the-sea

Sound in Silence x2 – Liam J Hennessy – Held / [.que] – Wonderland.

Sound in Silence is the fine Greek label run by George Mastrokostas (aka Absent Without Leave) and his two most recent release are from the UK’s Liam J Hennessey and Japan’s [.que]. Amongst a roster that includes the likes of bvdub, Wil Bolton, Hessien, Daniel W J Mackenzie and Absent Without Leave, these latest released are a fine addition to the catalog.

Liam Hennessey a few years ago recorded under the name Drops and produced a 7″ in an edition of 1 and a CD ep on Heat Death records as well as a split digital ep with Umber (who features on this release). For the last few years he has been focusing on music for film and television and in 2016 started a project of recording one song every month. “Held” is the result of half of this project. Hennessey’s music is highly melodic with a nice balance of natural acoustic and electronic elements.

The label states that the construction of “All tracks include field recordings and found sounds, captured with a portable microphone on trips to various places during the month each track was recorded. The sounds captured were used as the basis of the tracks, giving a nice natural sound, while the field recordings where chopped up and manipulated to make the beats. Then layers of nostalgic guitar melodies were added and filled with additional background ambience created with a mixture of guitar swells, ebow, warm synths and lots of filters and reverb.” 

“Frozen Lights” opens with field recordings of water and nature sounds and light Synth drones before sprawling guitar leads somewhat reminiscent of Robin Guthrie weaves their magic, before acoustic guitars and scattered beats clatter around. The track then has more focused traditional beats that hold the track and give it the base for it center it. Layering of guitars give it the depth, volume and light and makes it a pastoral post rock almost folktronica.  In the past the comparison with Message to Bears has been made and is comes through in this track, which is not a bad comparison at all.

“Beacons (feat. Good Weather For An Airstrike)” has that classic ambient sound of uplifting drones mixed with field recordings and layers of different tone guitars with sections of field recordings used as a pexcessive device. Elements drop out to reveal just the guitars before a drone brings in a section of crunchy beats that become the focus while sounds of children playing float and then the guitars again become the focus. Military like percussion builds up the pace in the final minute as it joins the scratchy crunchy elements of before and leads the guitars to the end. For all the elements that are included in the track there is no feeling of overcrowding. While I am not aware of who contributed what to the track, the collaboration works extremely well.

“Soen”  layers the acoustic and guitars, underpinned by drones with a shaker like percussive instrument and glitchy micro-beats. The building guitars that swell in their number and rise in their intensity is the focal point to the track. It shows Hennessey’s ability at constructing something with such depth with relatively few elements. 

“Mirror Lake (feat. Umber)” sees Hennessey re-untied with his fellow split ep artist. The track begins with backwards loops and drones before crisp acoustic guitar creeps slowly into the mix, the field recording made beats and an almost alt country like drone and central guitar part become the feature. The music is very bright and summery with a heavy dose of melody and because of the Alt country feel adds something different to the album.

“Over the Bay” was the first track from the project to be uploaded on Soundcloud and is a fitting penultimate track. Cinematic drones, spindly guitars, field recordings, loops, the crinkling of undergrowth, the way elements drop out and then are rebuilt in a different configuration, the panning of sound, the timbres of the guitars all work well together. 

“Viewpoint” takes the elements that have featured in the previous tracks and adds more of a standard ‘rock formation’ with percussion (maybe not traditional percussion, but more than the previous field recording based beats) and bass and rather than an ambient styled track it’s definitely in the post-rock mould. The track opens with what sounds, acoustic guitars and drones before coming fully fleshed. While it is nice, for me the joy is in the previous less ‘rock’ tracks.

As mentioned before the Message to Bears comparison is still valid, but Hennessey is as equally talented as Jerome Alexander and his constructions are lush and interesting. A mention must go to the mastering by George as all sounds are fully realized and vibrant.

There are times when you can hear a piece of music and you can determined the countries origin straight away. This release by Japan’s Nao Kakimoto aka [.que] is one such release. Some Japanese music can infuse a sense of whimsy and innocence in the music and this is one such release. Since 2010 he has released seven albums, one ep and three singles on labels such as Schole,  IntroDuCing! and his own Embrace label. This, his eighth album and the first I have heard, is according to the label “a concept album of ten tracks based on ideas that started taking shape when Kakimoto composed the soundtrack of the short film Kurokawa Wonderland back in 2015. Harmonizing the warmth of acoustic instruments and folk elements with electronic textures and field recordings,  [.que] creates a wonderful album full of emotional melodies and delicate rhythms.”

“Quiet” opens with closer coming and receding footsteps, the sound of rain pouring and the delicate keys of a piano with a melodic sound that could easily melt the ears of those not too partial to piano playing. It is coupled with a string section like drone with some backwards loops paning in and out.  It sets the mood for the rest of the album.

“Faraway” opens with a similar piano loop with cascading and receding electronics before glitch beats and cymbals are joined by folktronic elements and rhythmic beats, layered Synth drones and spiraling layered guitars. There are alot of elements going on, but the central part to this whole track is melody which is present in all the parts.

“Drip” opens with reverb laden acoustic guitar coupled with squelchy, glitchy scattershot electronics that seem to inhabit a nowhere zone in the track until a beat rears its head and leads age track in a direction where all the elements unwind into their own space. The most experimental of the tracks so far, it is over before it can start falling apart.

“Forest” is a short minimalist piece where a distant looping rumble falls behind a piano which is accompanied by birdsong. The looping reminds of sounds of a train rolling along wooden tracks and has a broken beat sort of sound to it. The piano has the feel of effects or processing as the notes linger and travel out infusing the track with ambience. 

“Vast” is mostly electronic in nature with the exception being the organic nature of the piano. Electronics filter and flutter, glitches pop in and out, sped up keys run in circles, Synth washes ebb and flow while a metronomic beat gives the track structure and form for the instruments such as the piano to pace alongside. The glitch elements remind me of Nobukazu Takemura. 

“Waterfall” panning backwards loops, drones, field recordings of a storm, guitar form the structure to this track. Without a percussive element it gives the track the feel of an intro as opposed to a fully fleshed track. You are almost waiting for the next section to begin.

“Afterglow” sees Kakimoto return to the fusion of ambient elements of drones, electronics and field recordings alongside guitars, basses and percussion. Some of the percussion in electronic nature, alongside hand claps or snapping of fingers gives it a retro feel. This is the most driving song, but also sharing a light theme on the album with the percussion and guitar leading the way while the Synth drones pulse to provide an extra element of percussion. 

“Nostalgia” sees the layering of acoustic guitars and an electric guitar joined by soft Synth keys that counterpoint the melody of one of the layers of guitars. Unfortunately it is over too briefly as it’s a really pleasant track that could be expanded. 

“Laputa” glitches and static from vinyl are joined by a series of cut up backwards loops one of which evolves onto a part that doesn’t sound like guitar, but some sort of string element, acoustic guitar and electronic tones reminiscent of a phone dial pad. The elements start faded out with a drone coupling the string part alongside the vinyl crackles and electronic tones. Kakimoto shows his strength on fusing elements that seem to be disparate and being able to construct tracks with them.

“Wonderland (Album edit)” makes me wonder if this is from the film or just inspired by it. Layers of drones are joined by electronic blips and blops before a retro percussive Synth section joins on and the more frantic beats reminiscent of earlier track “Drip”, but also give the feeling of a live drummer doing a version of drum n bass. There is a respite part in the middle of the track wwhereas cymbal crash leads to where the beats slow to just bass drum beats the piano and electronics flow before another cymbal crash brings the track back to pace.

Described by the label as being of interest to fans of The Album Leaf, Message to Bears, Epic45 and Miaou (another Sound in Silence artist), this release is fully realised and not tentative. Kakimoto layering and structuring are exemplary and is use of both nature and electronic means are well fused together. Again hats of Mastrokostas’ mastering which is vibrant and clear.