Eilean Rec x5: Śruti/ Benjamin Finger/ Emmanuel Whitzthum/ Aries Mond/ Amuleto.

For this second part of Eilean Rec release catch up, I get up to speed on the Class of 2018 (minus the previously reviewed Ljerke release). Again, some fine works of various colors and musical styles for listeners to dive right into.

Śruti is the collaboration between Egyptian experimental musicians Omar El Abd (Omrr) & Mohammed Ashraf (Pie Are Squared). “Heard, Unspoken” is their debut. The album was created over the past two years between Cairo, Egypt & Ravenna, Italy. El Abd has appeared before on Eilean Rec with “Music For The Anxious” while Ashraf has appeared on labels such as Records DK, *Handstitched and others.

The album is paired into two tracks of each part of the album’s title eg: “Heard (Pt.1)” and “Heard (Pt.2)”.

“Heard (Pt.1)” begins with cut up electronics that sound like something breaking down. The textures range from crisp sounds through to more submerged sounds. Drones, field recordings, loops, broken electronics come together in an aurally rich sound scape which is fluctuating with depth and intensity, but doesn’t sound cluttered. The music takes a darker turn with heavier drones mixing in with glitches and noise to create a storm like environment that threatens to, but never wholly enters the maelstrom. Snatches of minimalist piano change the mood of the piece, which still remains intense, but with a different edge to it. Towards the end organ sounding drones mixed with static saturated synth pulses give a fractured feel to the track not too dissimilar to its beginnings.

“Heard (Pt.2)” picks up were part one finished before moving into a mixture of field recordings, acoustic guitar and thought out and well spaced minimal piano. Granular pulses of electronics add a gritty edge before strings take the track to more cinematic places before fading to an almost unheard level. They continue with a melancholic edge alongside broken electronics, before the music swells with intensity and various guitar sections come in such and a post rock/ambient influenced style and a more twangy section. The music becomes more forceful seeking out more of the listener as it threatens to and borders on noise in brief parts. The swell of the track is such as once it has reached its crescendo, it slowly dissipates with breathy drones to its completion.

“Unspoken (Pt. 1)” feels like a mysterious soundtrack composed of snatches of electronics, backwards dialogue, floating ominous synths and foreign sounds. There is a strong Space theme. A tunnel like sounding drone comes in with its almost echoing presence before turning into a lighter, but still intense soundscapes, just with a bit of light to the ominous sound generated. The sound feels like it’s constructing of many layers that are not totally discernible, but can be slowly picked out at glances. With three minutes left in the track the music takes on a more electronic feel to it with swathes of ambient coating Oval-esque sounds.

“Unspoken (Pt.2)” continues with the glitchy electronics added to with field recordings, drones, piano, and other tones to create a track that falls across genres like electroacoustic, sound art, quasi film soundtrack and modern classical flirtations. The sound comes across as full, but the way the components come together allows for depth in the piece. The track has the ability, much like the others on the album, to flow easily from section to section without sounding clunky.

Hopefully not the last collaboration between these artists, it would be great to hear how they would react to stripping back the layers and focusing on an individual style. I would imagine it would be as impressive as this debut.

Benjamin Finger follows up his “For Those About to Love” album on Flaming Pines with “Scale of Blindness”. Finger, based in Oslo, Norway has been composing music since 2005 and active since 2009 and is a composer, electronic music producer, DJ and photographer. His music has graced labels like Time Released Sound, Shimmering Moods Records, Oak Editions and many more.

This is his second release on the label with this previous “Pleasurably Lost” in 2015. The label describes the work as “an unknown territory, dense and unpredictable, without musical styles, a deep dive, well-managed, into his own world.”

“Halogen Flux” welcomes you to the album with squelchy sounds, loops, gritty sounds, haunting female vocals, broken circuitry and scattershot electronics. Sounding more like an experimental piece that is a song collage, rather a standard piece, though it must be noted that it does have a sense of composition about it rather than the ‘kitchen sink form of experimentation. “Anxiety Blues” follows in the similar sound landscape with bubbling electronics, female vocals (by Lynn Fister), washes of synchs and percussive elements. You can visually picture Finger with a bunch of analogue retro instruments plugging away and turning knobs.

“If Memory Serves” utilizes some American dialogue about a plane jacking (DB Cooper) alongside layered retro synth lines that remind of Mogwai’s post “Rave Tapes” sounds that have a hint of menace about them coupled with melody and a retro feel. “Vagabond Void” begins with loops of squelchy sounds alongside a Morse code like scratchy synth and a kakiedescopic carousel sounding synth section with minimal percussion. The track feels like hyperactive synth lines that are then broken up by an ambient section before a darker sound enters the field and becomes part of the frantic feel you get. The track has an almost claustrophobic and schizophrenic sound to it.

“Fragrant Darkness” warped oscillating tones that fluctuate with frequency and intent, coming across in a way of a broken transmission are paired with an emotive vocal/synth drone with dub like qualities. The music has a looping quality to it that changes as the track goes through several moods and expands with additional instrumentation of mainly the synth kind. “Earview Map” starts with a more traditional synth drone of long proportions with choppy synth stabs that than ripple out creating quite a moody submerged piece. You get the feeling of alien world such are the low subdued tones. The drones grow with a slight static to them in the last-minute with blips and blops keeping that alien feel alive.

“Falling Asleep” oscillating synth lines with a partial drone attached meet dubby synth lines, percussive elements, vocals. Elements come in loop forms, but also in building up and breaking down of the sounds. What sounds like treated guitar comes in and adds something else as well as the clicking sticks percussion.

“Vanishing Faces” is the album’s epic clocking in at just over 12 minutes in length. It is quite different to the previous tracks before it in that the music is more laid back, less frenetic. It is given time to unfurl the drones and the bass line holds it all together. The drones are both melodic and metallic. The feel of an alien like environment is still sonically there but the initial feeling is of dawn with the sun coming up. The bass line melody (which sounds like an ominous organ) gets more flesh to it as the track also builds around it. Drones and rumbling synth with flashes of synthetic strings finish off the track, which until the last moments, was a change from the majority of the album.

This album would suit those that like a touch of experimental music mixed with a healthy dose of retro feel. In comparison to the Flaming Pines release, which will be reviewed at some point, you can see an artist that while there is something that ties his work together, it appears not to be too similar.

Emmanuel Witzthum is an Israeli musician, multidisciplinary artist, and lecturer. He has been on labels such as Cotton Goods and has appeared on Eilean Rec with his collaboration with Craig Tattersall as E & I on the”The Color of Sound” album. This album has 4 tracks, 4 haikus, like 4 seasons, two tracks of which are long and the other two are normal length.

“Eyes shut, Leaves. Lift in winds across. Autumn Skies” is an emotive piece that utilizes Whitzhum’s viola and electronics to compose a piece of sweeping music that has obvious dronal elements, but to label it just drone would be to undersell it. It feels like a grand classical piece that has elements that flow and ebb with an undercurrent that forms the body of the track. The use of layering and repeated motifs helps build the track and gives it more than one dimension.

“Soft rain falls. Winter Solitude. At night, still” a fusion of short passages of viola over which layered long sections can glide with a occassional minimal bass drum beat opens the track. If the title gives anything away it is the word solitude. The music feels rather mournful and it feels that it tells a story of loss with the two viola styles being ‘sobbing’ the short loop like passages and the deep melancholy of the longer sections, mixed with reflection.

“Shy Flowers. Cloud Sighs, Clear Blue Sky. Breeze turns warm”. In a way this feels like the flipside of the previous track as the elements are connected and in a similar style – short and long viola passages with a minimal occasional beat. However, the tone is different. It is lighter, still lyrical and emotive, but this time with head held high looking into the sun. The pace of the track accentuates the feel with a relaxed speed.

“Against Tree. Eyes look to Sunset. In summer.” continues with the similar stark instrumentation that the three preceding tracks have used with each track managing to convey z different mood which, given the timbre of the viola is not that easy to do. This particular track utilizes more of drone than the short sections of viola than before. The main sections of viola have the familiar long form bows, but conjure up a feeling of reminiscing. The visual representation would be looking over an open field to a body of water that stretches out with nothing on the horizon. A nice addition to the sound palate are brief moments of wordless vocals to the end which add another element.

Whitzhum’s album is a joy for those that like music that conveys human emotions.

Boris Billier is a french musician based in the Pyrénées mountains in southern France. He started to compose with environmental sound recordings in 2002. He toured with different solo projects, playing “acousmatic” concerts. He often collaborated with contemporary theatre.

From 2013, he started to focus on instrumental music, with a particular interest for piano, and to share tracks under Aries Mond pseudonym.

“Come” the opener starts with flickering sounds and muted piano that comes across as both distant and up close. Electronics scatter around the piano breaking up the sound but also adding queues for the next section. A hum arrives adding a different long melody which holds and brings forth a new section of piano largely unfettered by the electronics (though they are still present). For a three-minute track you feel that it is almost an intro than a stand alone piece and it gives you a feeling of a thematic album, that you will or will not discover is the case, as it unfolds.

“Again” close records piano meets some swirling static sound, electronics and snatches of breathy noises that sound collaged as they have a cut and paste feel. The track is rather brief and sounds an exercise in texture and minimalism rather than a song.

“Come on lets wait” fuses field recordings, experiments with the piano itself, glitches, random tones to create a fractured piano/glitch track that turns ever so ominous with the tone getting heavier and the glitches and tones increasing in their coverage. There is an echoey tone to the glitches which sound like machines breaking down. The repetitive loop section mid way through the track gives it a major motif to hang onto. Things clatter and clang, melodies ring out and for want a better word, a groove is found. After this section an introspective feel comes over the track with the piano being slightly moody.

“Please” close capture recorded minimal piano with all the sound and imperfections of the piano leads this track in a thoughtful mood. Each note is played intentionally with no accompaniment leaving the piano sounding a bit fragile. The pace is relaxed which enables the mood to be easily read. A nice well thought out piece.

“Relentlessly” follows some of the cues that were introduced on “Again” with the vocal glitches having a sound of frustration in there little snatches of sound. There are metallic scraping sounds, possibly the wires from the inside of the piano. The scraping maintains a rhythm which is also produced by the bouncy tones as well.

“Sure” a metronomic sound welcomes lightly played piano and electronics that bounce out and circulate around field recordings. The piano is the center of piece as it holds its place and pace, while other elements float around it including field recordings and more breathy vocals. The piano and tones at times mimic reach other with their repetitive tones.

“So Long” frantic keys, bells and glitchy tones set the stage for this track which holds onto melody while still being experimental in its playing and combination with organic and non organic sounds. The feeling is not too dissimilar to that of the music of Nobukazu Takemura, but with a more humane touch. The mirroring of piano and tones works well.

“Once again” ventures into glitch territory almost exclusively with moody ambiance breaking up the loop sections with a percussive feel – in a like a pinball machine, included in the track. While having pulses of melodic touches, there is an element of noisiness due to the slightly storm like distorted sound.

This albm includes piano, vocals, glitches, field recordings, but is more the sum of the parts with its willingness to experiment and play with sound. The music is consistent in its sound, but without being repetitive and boring.

“Amuleto is Francesco Dillon (cello, prepared cello, feedbacks, other strings, objects) and Riccardo Wanke (guitars,keyboards, electronics, synths, harmonium). The duo takes its name from Roberto Bolaño’s novel and seeks to trace invisible links among distant geographical and cultural spaces, words and sounds. Good part of the inspiration comes from literature, sounds, images coming from various sides of the world. Their music emerges as a combination between contemporary, experimental and electronic music with influences of folk and classical traditions and improvisation.”

As a duo their work has previously come out on the Mazagran label, while separately they have appeared on labels such as Sedimental, Stradivarius, Glistening Examples and Three:Four records. As a level you could make a strong argument that Electroacoustic forms a large part of their oeuvre. This side is shown with Amuleto.

“Las Hojas Mineralizadas De la Árboles” aka “The mineralized leaves of trees” fuses field recordings – crackling noises, electronics, with guitar, harmonium, cello to create a drone piece which results in long sustained tones being coated in a sonic detritus. The drones and other elements travel the various depths of sound and texture, using the instruments for their primary and secondary sound sources. This is best demonstrated by the use of the various guitar tones and the sound of the lead being inserted and removed from the guitar.

“Sumaj Orcko” frequencies and loops seem to be the heart of this piece which definitely rests in the experimental field. Sounds buzz, gurgle, scrape, scatter in a kitchen sink manner where everything appears to be constructed using instruments of alternative means. The track ranges from purely electronic experimentation to more organic sound source experimentation through to left field ambient/drone.

“Bajo la Lluvia Casa Silenciosa” aka “Under the rain silent house” features voice recordings, cello, electronics to create a piece that is hard to get a handle on in regards to what it is trying to convert. Field recordings of conversations give it an eavesdropping feel, but then the noisy prepared strings take in a completely different direction, although it should be noted a variation of this appears at the start of the track.

“Los Naufragios De Cabeza de Vaca” aka “The Cow Head Shipwrecks” fuses field recordings, dark electronics and looped string instruments, giving an almost conventional feel to the track as it builds up the intensity and suspense, before elements drop out and the electronics are what remains. The next section returns to the experimental of before with wild guitar bashings over electronics. Interestingly this leads into more traditional guitar sound with an accompanying humming rhythm, before going into a traditional/ experimental hybrid section. This section builds suspense due to the bashing, the strings that are screeching and the constant humming electronics.

“Una Aventura Nocturna” aka “A Nighttime Adventure” taking the title literally, the duo construct a sound pallet of metallic screeches and string drones that reverberate and extend seemingly forever. The mood is dark and field recordings of dialogue are used, but without understanding the language I cannot ascertain if they fit mood. The feeling is thick but without being claustrophobic, but also suspenseful.

“Máquina Para Fabricar Santos” aka “Machine to Make Saints” fuses the noisy experiments with prepared strings alongside electronics which creates a nice balance of the two styles that while different compliment each other. After a breakdown section, cello that is being roughly played joins electronic beats before another section of joins in and the electronics start to lead the track once more. With the track having around a minute left the cello goes into overdrive in its intensity and its sound of harsh tones that slash and grind to the end.

If you like to more free form experimental Electroacoustic side of music (and Eilean Rec), this may be right up your alley.

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Eilean Recs x 3: Jacek Doroszenko/ Sonmi451/ Various Artists.

When the emails for Eilean Rec arrive in my inbox, the Minor Threat classic “Out of Step” rings in my ears. Not for the Straight Edge mantra that dominates the classic slice of US HC, but the simple refrain of “I can’t keep up..” These are my thoughts on the regular submissions of this ridiculously prolific and regularly mind-blowing French label run by Mathias Van Eecloo (formerly recording as Monolyth & Cobalt). Two thirds into it’s 100 release existence, the quality hasn’t dipped and they keep putting out music by artists you have not heard of before as well as familiar artists and those in new collaborations and configurations.

This is an attempt to play catch up and get the 2017 releases up to date. The next part will cover the 2018 releases. As is the Eilean Rec way, these releases sold out on pre-order or very close after release date. As they have a 75% off discount for their full (at time of writing) 67 digital releases, what better time to investigate one of the most popular labels of recent times.

“Jacek Doroszenko is an audio-visual artist, treating sound phenomena as a legitimate material of visual art and highlighting listening as a practice. The artist engages with contemporary soundscape to select and rephrase the notion of noise as a redundant element. “

This album was recorded in 2016/17 at artist in residence programs in Norway and Greece utilising field recordings as a basis for the music which is all about the juxtaposition of various sounds.

The music rests in the Experimental/ Electroacoustic field in music with certain tracks such as “Vague Obtrusion” being a sound collage of textures, frequencies, sonic detritus and drones bringing to mind some of Anthony Patteras’ electronic works. The following track “Stream” feels like a more conventional piano and strings track that has a slight feeling of claustrophobia while the return to experimentalism returns with “Glue” and its metallic cyclic sounds. “Be Right Back” is a plaintive piece of solo piano that feels likes it has a haziness to it. “Alvik” has ominous drones and futuristic sounds which are bathed by waterside field recordings which give the piece a feeling of isolation and desolation.

“Achromatic Component” uses loops, field recordings, snatches of sounds and drones to construct a piece of decay that feels like several machines are breaking down and are in their final throes of life. The apocalypse is brought on by the end of the track with its warping noises. If ever a title accurately described a piece of music then it is “Dense” which appears to be cello or acoustic guitar dominated using the bow or plectrum to conjure up a variety of sounds and textures, utilizing speed and effects. Broken electronics, field recordings, piano, bells, random instruments and objects flesh out the sound. “Resochords” sounds like something by another artist and would fit in perfectly on the Vienna based former Ukraine label Kvitnu with it glitchy, warped and experimental electronics. For the reason that it is quite different to the previous material, this track doesn’t fit that well on the album.

If the darker, more experimental sounds are what you crave, then this could be for you.

 

 

For close to a decade and a half Belgium based musician has been recording under the Sonmi451 moniker with a variety of releases on labels such as Time Released Sound, U-cover and Slaapwel to name a few.

“His music is best described as a hybrid between subtle, shimmering electronica and delicate soundscapes. Every Sonmi451 track is a sort of mini universe where field revordibgs and lovingly crafted samples are combined with carefully chosen atmospheric ambiances. Sonmi451 likes to explore the inner aspects of sound and stillness, the cracks and loopholes that exist between sounds.

The album was dedicated to the rivers an streams crossing the exquisite mountain landscapes of the Alps and Dolomites in the beautiful region of Southern Tirol. This explains the titles of the tracks referring to rivers.

“Adige” pairs aquatic bubbling sounds alongside electronics, ambience and acoustic instrumentation to give a feeling of floating and tranquility. The pace is laid back with enough going on to engage the listener. “Piave” is a combination of low drones that introduced a progressive piano melody that becomes the centerpiece of the track alongside chimes, electronics and soaring string drones to create quite a cinematic piece of light flowing wonder.

“Passiro” combines fragile sounds alongside glitches and humming tones to create an analogue warmth like feel to the track. The haziness that is constructed gives off a submerged, but distanced feel with a touch of fading memories as if the gentle fractured tones are like fragments of a person’s life. “Sarca” sees bouncing tones over flashes of sound, plucked instrument reminiscent of kalimba and occasional field recordings. It feels like an environmental recording that has been giving a slight sci-fi feel but with a traditional indigenous sound as well.

“Brenta” starts with sharp tones paired with looped melodic tones that anchor the piece and provide the high-end notes. Scattering and clanging percussive like field recordings and a mournful tone which takes over the sharp tones enter the sound scape alongside some cut up dialog and static like storm sounds. The melodic tones become the hero if the piece and give it a center for the other elements to flow around.

“Rienza” glitches, wobbly tones and melodic chimes lead through to an ambient soaked section with acoustic guitar that has a swirling feel to it. The sonic detritus, the way things cut in and out, as well as the general murkiness of the piece makes you feel in a tropical storm. The track is quite hypnotic with the guitar and the chimes acting as a counterpoint to the swirling loops, but also complimenting them as well.

“Gadera” the beginnings of oscillating tones, chimes, field recordings feel innocent enough at the beginning, but they then over a period of time rising and falling grow into something more. With additional field recordings and an increase in intensity, the music starts to threaten to become a full on cinematic piece. Just as you are expecting it to tip over into a big drone piece, elements subtly fade in and out of the sound scape keeping the material flowing.

“Avisio” long, deep, layered droning cello welcomes a haunting wind instrument, chimes, field recordings and a plucking sound. The music is maximal with the sound being full and expansive. The material balances equally the darker tones alongside the melodic element with each having their own style that works as well individually as it does together.

“Panta Rei” is an album that works well in that it is not musically pigeon holed. It has flashes of electronica, experimentalism, organic and electronic, cinematic and drifting. It shows Zwijzen as an artist that is musically imaginative and adept at construction of sounds.

As is the annual tradition of Eilean Rec, their Various Artist release contains new and exclusive tracks from the twenty-one artists released during 2017. The physical edition came in a metal box limited to 175 copies with sixteen tracks from the likes of 9t Antiope / Ben Rath / Bill Seaman / Cicely Irvine / Daniel WJ Mackenzie / Danny Clay / Francesco Giannico / Giulio Aldinucci / Jacek Doroszenko / Josco / Josh Mason / Jura Laiva / Monolyth & Cobalt / Monty Adkins / Nathan Mc Laughlin /Sonmi451 / Sound Meccano / Spheruleus / Stijn Hüwels / Tatsuro Kojima / Toàn

As this release includes artists that were originally featured on the label prior to the beginning of this blog, it gives me a chance to check out artists like 9T Antiope with their classical styled female vocals alongside experimental electronica sound collages with “Lemniscate”. Before this is tracks by Cicely Irvine and Ben Rath. Irvine’s “Intro” is a pump organ drone piece with whispering vocals, field recordings and sharp tones that gentle oscillates and serves as a good opening tack to the collection. Ben Rath’s “Ego Death” is a darker Sci Fi-ish take on granular drone with flickering tones appearing to come from a distant place. Stijn Hüwels and Danny Clay fuse fragile soundscapes with sine wave-like tones that flow in a wave-like fashion embedded with melodic chimes. Francesco Giannico and Giulio Aldinucci follow on from their stunning album with a static soaked buried drone piece “Pangea” that soars to great heights. Sonmi451’s “Maè” features piano loops alongside short flashes of sound, static and melodic, but haunting drones that delicately unfurl with a slight jazz feel to them.

Toàn’s cinematic “L’Érèbe” is a stunning piece that nicely follows Sonmi451. Mixing strings with warm ambience, Electroacoustic flourishes and a moody almost Jazz feel, clearly shows Toàn as an artist to watch. Sound Meccano|Jura Laiva take the moody ambient approach with “P.s.IX” with its oscillated tones, cascading static, melodic glitches, creaking wood and flashes of harp like ambience. The track is slow-moving, but over time reveals more and more.

Jacek Doroszenko’s “Ignorance” is similar to the final track of his album in the sense its more electronic than experimental, with synth lines bubbling in tandem alongside sounds like cymbals, harsh drones, piano and other percussive devices. The track is the story of two half’s and I would guess Doroszenko’s musical style – the experimental meets the electronic approaches.

Unlike their one track album, Josh Mason and Nathan McClaughlin create a single track “Lost Data” that pairs treated guitar with ambient and experimental touches that moves away from the freeform guitar tines to a more ominous territory with shuffling percussive sounds, swirling and scraping sounds to give a rustic feel to the track. Bill Seaman on his “(Re) Erasures and Displacements” takes his reconstructing to a slightly ominous at times, but in others, relaxed place. There are different textures from the industrial- esque pulses of sound to the piano tones to the buried feeling of the music. There is a certain melancholy to the piece, but it’s not the standard feel of melancholy.

Label Boss aka Monolyth & Cobalt weighs in with “Le Territoire” possibly sees the last of this project. The track utilizes field recordings to enhance the ominous feeling of unease that the music generates. It is cinematic, but at the same time due to its constant flowing parts, an ambient/drone piece.

Daniel W J Mackenzie formerly known as Ecka Liena creates a travelogue piece called “Untitled (28th 10th)” that changes from what feels like you are experiencing an environment at the start of the track to a more moodier piece in the second half brought about by the variety of strings, the buried minimalist piano and field recordings. Josco and Spheruleus fuse scanner recordings with thick, but sharp drones on “Passau” to create a wall of sound that with the recordings feels like an interrupted transmission during a storm.

Monty Adkins’s piano on “Entwined” is delicately fragile and fits well with the fractured glitchy tones and the icy tones with their wisps of ambience. You get the feeling of a desolate place that a wind storm is swirling around kicking up sand. Tatsuro Kojima ends the collection with “White or Grey” which has an element of light, sharp noise mixed in field recordings and a humming drone to create a piece that feels like a battle between nature and noise.

This is a nice sampler and one that perfectly shows the variation with the label’s catalog.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ben Rath – Black Heart Music.

It is a little hard to review Eilean Rec releases. Such is the demand for the music they put out and the limited edition nature (this particular release was limited to 130 copies) that they regularly sell out in pre-order. You may find them at Stashed Goods or Experimedia, but on the whole the physical editions are long gone.

“Ben Rath is an amateur musician currently based in Manchester, UK. He makes experimental, ambient music using original recordings of guitar, keyboard and piano, as well as samples and field recordings. He has been recording and releasing music through a variety of labels since 2014 and has also released a short EP of improvised acoustic guitar tracks under the name Slow Heart Music in 2017”.
Ben Rath has been building up a catalog via a series of great labels such as Triple Moon, Cathedral Transmissions, Unknown Tone and now Eilean Rec.

His “Black Heart Music” album contains ten tracks of differing material such as the ghostly and noisy opener “I see you demon” with its icy electronics, howling wind like drones and slightly ominous electronics that are joined by an organ like drones, field recordings and what sounds like a guitar quartet to the scratchy field recordings, drones and almost classical guitar of “Hidden Contract” which has a drone meets acoustic post rock meets orchestral drone feel to it.

“Devotion” takes the listener on a loop based psychedelic electronic drone journey while the follow-up “Reasonable Doubt” sees acoustic guitar return to the fore with a hypnotic disjointed loop feel and a whistling drone gradually building to hold a similar degree of attention in the track, complimenting the guitar playing.

“Know thy Shadow” is a pure drone piece with an orchestral choral feel to it which makes it quite haunting. There is a shuffling feel before darker pulsing elements take over with flashes of electronics which altogether give a wide-screen feel to the sound. “Boiling Point” has pulsing static covered electronics that have a drill like quality with orchestral probes which sound like a bed of church organs. As the title suggests, the music builds up with a fractured cut up selection of electronics and sound to build a frantic base for the organs to sit upon. As the track finishes up the elements start to drop out with a static off-kilter buzz taking the piece to silence.

“Winter Blues” has looped samples and submerged drones with distortion. Such is the distance felt in the recording, the drones feel buried underneath the samples and it gives a claustrophobic feel to the track.

“The Devil in Disguise” opens with slightly shimmering drones that are layered and occupy different levels on the sound palate. There is no need for urgency, but they are not stationery in any way. The build slowly and swirl around. Field recordings of an unknown nature scatter about and a glacial drone joins the fray as these two elements become dominant before a heavier drone that slowly varies in pitch takes over.

“Hesitation” looped cut up drone elements with a slight chugging feel are joined by a spindly guitar style drone and a fog horn sounding one. A melodic element takes its place and initially it is buried in the mix, but starts taking prominence in piece.

“Visit to the other side” starts with a looped distortion drone that throbs while a granular and a bowed like haunting element joins in. The haunting element has a ghostly sing-song feel to it with an orchestral like touch. The medic ebbs sad flows, but probably needs another element to complete it.

With “Black Heart Music” Rath shows he can create wide-screen music with impressive elements and the like of “Reasonable Doubt” show he is heading in the right direction. I look forward to seeing where he can next take his music.

Ljerke – Ljerke.

The first Eilean Rec release for the new year may just be their most ambitious one yet. The debut album by Ljerke, a collective of like minds artists comes as a multi media package with a DVD included that is a visual realization of the album from Netherlands and Icelandic artists Marco Douma + Haraldur Karlsson.

“Ljerke is a multidisciplinary live project which took form in the Frisian landscape as as source of inspiration. (which on a tourist website is described as “as Dutch as it gets. Blue skies with impressive cloudscapes. Vast meadows, in which cows graze amid narrow ditches. Sheep dotting an old dike with a village church on a hillock in the distance”). The project includes some music artists from Netherlands (Romke Kleefstra on guitar and effects, Jan Kleefstra on poetry and voice, Sytze Pruiksma on percussion, dulcimer and guitar with effects ) and Norway (Alexander Rishaug on electronics, Hilde Marie Holsen on trumpet and effects, Michael Duch on contrabass) completed with the video artists Marco Douma (NL) and Haraldur Karlsson from Iceland. A new project of live impro music, poetry and film, in the same context of former projects as Seeljocht (Piiptsjilling) and Skeylja (The Alvaret Ensemble).”

“Muurv” which translates to the project umber three can mean a variety of things. From wisdom, harmony and understanding to the number of time; beginning, middle and end, birth, life, death, past and present and death. The track opens with what sounds like a bass drum beaten (but could be the contrabass), before scattered electronics, manipulated guitar recordings, drones and fragments of sound are joined by the narration / poetry of Jan Kleefstra. Sounding like a pure electroacoustic piece that seems in a way a collage work, with the intention, I think, to create a sense of unease. There is no real consistent structure. Sounds enter and leave, quiet-ish narration and warped parts like guitar, that depart as quickly as they arrived. In the last-minute and a half the track goes as conventional as it will with feverish guitar and contrabass being strummed quickly building up a rhythm while also sounding quite random in their playing. As there is sparseness to the track it is hard to discern what is going on, but it hints at the direction the music will take over the album.

“Tsjilland” starts with a distant explosion like beat alongside scorching electronics and trumpet. The trumpet has a touch of melancholy alongside the metallic sounding electronics that have an electrical storm quality about them. Contrabass, scratches of guitar and dulcimer give a more noisy sound scape. The press release mentions the “Frision Landscape” as a source of inspiration, but for me this is like an alien transmission. Unless that particular landcsape is still, but with a sense of menace or unease to it, then I don’t get the influence. That said, it is not my environment, so that could be my lack of recognizing the influence. A large part of this alien feel is the electronics, which are early Mego-esque with their feel of splattering sounds. The contrabass lends a more mournful tone, along with the fast strumming of what sounds similar to violin, but possibly manipulated guitar, gives it a certain, dare I say, structure to the piece. Again, towards the end the track starts to take more of a shape than the preceding six plus minutes.

“Waarbekkasin” low contrabass rumbles with a Godflesh like intensity are joined by a squall of stormy noise before a high guitar drone and Kleeftra’s narration enters the picture.A metallic noisey drone is introduced before it departs almost as quickly as it entered. The sound of the track is cloaked in a fog, but you can sense elements building up which they start doing four minutes into the piece with what sounds like bells, but probably dulcimer ushering in the next phase which has the contrabass quickly strummed, guitar lines rippling out, bass drum beats and electronics adding to the mix. the final section is the most musical with the dulcimer giving the brightest shade to a predominantly dark piece.

“Skiermunk” begins rather subdued with a pulsing sound with smatterings of percussion, static, low-frequency electronics, trumpet, guitar manipulations building a subterranean soundtrack of fractured music. a bit like musical detritus in that the parts seems to decay in your ears. As the notes say mixed and edited by Rutger Zuydervelt (aka Machinefabriek) you are not sure if this is one combined improv piece of one that has been edited or constructed together. You get elements of Jazz Fusion meets Mego fuckery meets out-and-out electroacoustic experimentalism.

“Hettekobe” droning contrabass sounding didgeridoo like welcomes the listener with its manipulated deep low playing and scraping. Bells and Kleeftra’s narration enter alongside a swirling drone. The contrabass disappears to leave the drones alongside trumpet and table top electronics changing the texture of the track to a slightly lighter one before bashing percussion takes the piece into a third section which the percussion and trumpet lead the way. The Contrabass and electronics return alongside a searing drone, more percussion, trumpet and guitar manipulation to create an almost impenetrable wall of sound that swarms tp the tracks completion and crashes like a wave.

“Skjegfuggl” looping distant trumpet, long presumably guitar drones fuse together with electronics entering the fray and low bashed guitar creating a jazzy soundtrack-esque piece of noir which adds an extra level of noir with Kleeftra’s poetry narration. The music changes more to a drone piece, but not a traditional one as you would usually expect, but one that has a definite more experimental approach to it. Elements come across, enter and disappear, flash in and out and probably is the most controlled piece of the album.

The album was recorded as part of a tour in  November 2016 at the Landscape studio te Gauw, recorded by Jan Switters and later mastered by Norwegian Noise legend Lasse Marhaug. The recording is clear and there is enough space for the instruments to occupy various levels of the sound scape and be audible at any level. That said, If I am being honest, I probably wouldn’t listen to this a lot. This is primarily my desire for more structure and less improvisation. Improvised music relies largely on flashes of brilliance, while a more constructed piece can work more on building mood, texture, rhythms as the musicians are on the same page. With improvised music the musicians are in a way reacting to each other, so there is more chance encounters at something different as opposed to constructing something in a singular fashion. That said, if improv is your thing, this may be for you.

 

 

2017 : Twenty of the Best List.

 

TWENTY GREAT RELEASES OF 2017

I have to admit a sense of dread in compiling this list. These lists can be seen as from arbiters of taste and start well before the year ends. Sometimes it seems in competition to be the first to decree which album/label etc to be the finest of the year. I am not an arbiter of taste at all by any stretch of the imagination. This is a simple list of twenty releases I liked this year. There is no ranking, no breakdown into genres or sub groups (sorry, no best Winter albums as well, it’s not winter everywhere). Just a plain old list. My apologies go to those that had sent across material that has yet to be reviewed, but I endeavor to review them all. There is a supplementary list of three re-issues that also caught my attention this year. Without further ado and in no particular order….

 

Lorenzo Masotto “Aeloian Preocesses” (Dronarivm)

“Although I have not heard Masotto’s two previous releases and cannot compare this release to them (nor ascertain if the music matches the title of the album), what is striking is the use of electronic elements and instrumentation that compliment the solo piano. Such is the skill that this could sit comfortably in the Erased Tapes catalog.”

Toàn “Histós Lusis” (Eilean Rec)

“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.”

Emilìa “Down To The Sadness River” (Rottenman Editions)

“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.”

Giulio Fagiolini “Dietro a un Vetro” (Home Normal)

““Dietro a un vetro” is quite a stunning record especially as debut’s go. There is a great range of material and the fact that Giulio shows great restraint in his playing shows that he is in total control. The field of Modern Classical solo piano is one that is full to the brim, but Giulio easily adds to the field without it being simply ‘another piano album’. Totally recommended.”

The Green Kingdom “The North Wind and Sun” (Lost Tribe Sound)

“The production, performing and mixing were all done by Michael Cottone. I can only assume that the recording was done at home as there is no information to where it was recorded. If this is the case Cottone has done an outstanding job with such time and care put into this album which was expertly mastered by Taylor Deupree at 12k Mastering. If you have been a The Green Kingdom you will love this, if you are new to his work go back and get accustomed to his outstanding back catalog. Totally Recommended.”

Francesca Giannico & Giulio Aldinucci “Reframing” (Eilean Rec)

““Reframing” is a work that could be classified as Electroacoustic Ambience and has more than enough depth and variation for sustained listening. It is a perfect headphone listen to pick up all that is happening in the tracks. A mention should be made of the dynamic master of Ian Hawgood.”

Sontag Shogun and Moskitoo “The Things We Let Fall Apart” (Home Normal)

“On this single Sontag Shogun and Moskitoo have ably demonstrated how to collaborate. The way they have been able to fuse their music together and construct it results in an enjoyable listen. Hopefully this is not the only collaboration that the four of them come up with. Totally Recommended.”

From The Mouth Of The Sun “Hymn Binding” (Lost Tribe Sound)

“From The Mouth Of The Sun have delivered a stunning album and have carried on Lost Tribe Sound’s outstanding the Prelude to the Decline series. They show how to make deeply textured music seem effortless and reward the listener with an album to enjoy endlessly. Totally recommended.”

Roberto Attanasio “Behind Those Eyes I Rest” (1631 Recordings)

“As Roberto mentioned in our email exchange in regards to his method of writing /recording his music “The only thing I had to do was transcribe I had in mind, and that was incredible because what you listen to is exactly the song I played in my mind. I didn’t do any change respect to my music thoughts and maybe this is the beauty of the Ep : spontaneous and intimate.”

I think the last word of that quote best sums it up this Ep and the recording style of it. – intimate.”

Bruno Sanfilippo “Lost And Found” (AD21music)

““Lost & Found” sees a collection of material from a wide span of time be collected to form a cohesive album. Some work better than others, my personal preference would be “Soltario” to be shorter, but the album is an enjoyable listen for people looking for more than just a solo piano album.”

Crisopa “Transhumante” (Sound in Silence)

“There are no standouts on the album for me. That is because it is consistently good. There are elements that appear several times over (like the affected vocals) which can make the music a bit samey, but that can attributed to a fair amount artists. What Lizón has created here is an enjoyable, bright listen. It’s the aural equivalent of opening the curtains and letting the light shine in. If you like the artist references at the start of the review, then you will enjoy this album.”

Aidan Baker/ Thor Harris/ Simon Goff “No Place” (Gizeh)

“It is quite amazing to think that this was recorded in a short period of time on one day, edited and re-assembled and then some six months later sounding like a fully formed album from an established group. Aiden Baker, Simon Goff and Thor Harris have produced a very enjoyable, rich album that thanks to Gizeh Records we are able to appreciate.”

Adrian Lane “Playing With Ghosts” (Preserved Sound)

“To say he has achieved something jaw dropping is an understatement. Any concern you have of it being derivative of The Caretaker are easily forgotten.A special mention should go to his collaborators especially Bryan Styles’ Clarinet, which helps formulate many of the albums tracks. This album was released on August 18 in an edition of 150 copies, I urge you to check it out.”

Ghost and Tape “Var” (Home Normal)

“Over the course of four albums in seven years, with the others appearing on Schole  and Slaapwel as well as Ep’s on Rural Colours and Hibernate, Heine Christensen has created his own place in the ambient scene with his thought out minimalistic, micro glitches and melodic tones. Expertly mastered by the former experimental grindcore practitioner Plotkin, “Vár” is a trip down the sun soaked dappled miniatures of Ghost and Tape and lives up to both his history and that of Home Normal’s class of 2017. Recommended.”

Jason van Wyk “Opacity” (Home Normal)

““Opacity” refers to the lacking of transparency or translucency which can be compared to the pieces on the album where there are multiple elements. One of the synonyms of Opacity is haziness which can be occasionally heard in tracks like “Clouds” and the beginning of “For Now” for example. For “Opacity” van Wyk has taken on some of the elements of “Attachment” added some from his previous work and taken it further. The shorter pieces that come across as Soundtrack-esque is a something that would be interesting to see van Wyk detour into as I think he would pull it off with aplomb. A mention should be made of the cello and violin of Brittany Dilkes, Gavin Clayton and Lynn Donson for their important contributions to the album. Recommended.”

Polaroid Notes “Unsung Memories” (Whitelab Rec)

“A thoroughly enjoy album from someone who would easily craft a great soundtrack in the future.”

The Prairie Lines “Eyes Down Slowdown” (Whitelab Rec)

“A thoroughly enjoyable release especially if you like your ambience coated in thick haze with layers to peel back and investigate.”

Astrïd & Rachel Grimes “Through The Sparkle” (Gizeh)

“The playing and compositions of this album give you the feeling of a long-standing band, not a band and a collaborator. The way Astrïd and Grimes fuse together is so seamless with each others influences forming together to create something their own. Elements of Grimes’ sounds developed in Rachel’s come through and fit nicely within the Astrïd framework to provide an enjoyable and cohesive piece of work. The label describes it perfectly : “Through the Sparkle is a record of miniature symphonies, of elegant restraint. A gracious and generous offering from a group of musicians at one with each other and at the top of their game.””

Dominique Charpentier “Esquisses” (Self released)

“It would be easy to see this ep as something more than it is. It could easily be part of a soundtrack to a feature film. The length of the tracks are perfect and make great little vignettes. For an artist that is used to being self released, he could easily slot into the roster of say 1631 Recordings.”

Totally Recommended.

Akira Kosemura  “In The Dark Woods” (Schole)

“Throughout the album Kosemura has demonstrated why he has such a following. For some a strictly solo piano album could be too much of a same thing, but for Kosemura he knows how to construct an album that can sound familiar but you look back to the other tracks you cannot pin point which track it is. Naturally with a genre like Modern Classical /Solo piano that is fast becoming a saturated one, it helps to be a great composer and this is what Kosemura has on his side. Add to the fact that Kosemura doesn’t just rely on Piano and you have an artist that sustains the listeners interest and keeps them engaged.”

 

THREE GREAT RE-ISSUES OF 2017

 

Vargkvint “Brus” (Soft Recordings)

“It is fairly easy to see why Soft re-issued this and fits in well with their stable of releases that have included Darren Harper, Kate Carr, EUS and of course Linear Bells. This release is just simply one of those that come along and captivate you from the start and you hope that more than a limited audience gets to experience it.”

William Ryan Fritch “The Sum Of The Parts” (Lost Tribe Sound)

“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.”

Jakob Lindhagan “Skorheten” (1631 Recordings)

“Overall this is an impressive album with miniatures that would be great if expanded. It shows of Lindhagen’s talent and flexibility and a composer to use different elements to the tracks so it’s not a case of “same same”. I look forward to what he brings us on his next release. Totally recommended.”

Cicely Irvine – Excavation.

The latest Eilean Rec release (the 60th) comes from new artist Cicely Irvine called “Excavation”. Irvine (b. 1990) is a musician and sound artist based in Stockholm, Sweden. She has been making music and sound design for film, radio and performance art. “Excavation” is her debut release and the recordings were made between 2007 and 2017.

With such a broad time for the completion of the album you would be thinking that it would be a compilation and with the difference in the material it could lead you to different points in the decade of its genesis. However, as a reviewer you don’t know the age of the individual recordings nor their autobiographical meanings (if indeed they are there).

“Bow” is the opener with oscillating drones, field recordings, beats, haunting vocals which are built-in harmony with each other and give a dream like feel to the music.

“Sans” long drones punctuated by the glockenspiel giving glitch like sound is accompanied by the musical saw and melodica. Unfortunately it doesn’t really go anywhere, which is a shame.

“Hjärtat” (translates to “Heart”) industrial like heart beats welcome drones, presumably from pump organ alongside minor field recordings. Much like the previous track, this is more of a sketch or intro for a full piece.

“Come Around” features Irvine’s layered vocals over a buzzing drone section which ebbs and flows, but towards the end the vocals start to manipulated to glitching alongside synths as if they are spluttering, before drones bring the decay to the end.

“Eftertanken” (After the Tank) sees the introduction of minimal piano, which is probably the first track that give you the feel of the recording locations (in bedroom studios in Gotthenburg and Stockholm).

“Organ” sees the pump organ front and central. The tones generated and the relaxed pace of the music work well together and give a feeling of rebirth.

“Takten” (“The Pace”) sees Irvine demonstrate her virtuosity on guitar with a frantic section layered over the original section which has a more picked feeling. After a brief interlude the piece changes in tone and intensity and becomes almost a facsimile of itself.

“The Deer” sees slow acoustic guitar gentle pickings matched with field recordings of squalls and Irvine’s vocals, bells and drones combining in a rich sounding track.

“Genom Skogen” (“Through the Forest”) is a whimsical piece of childlike melodies of backwards loops, field recordings, pump organ, bells. Together they give an almost nursery rhyme like feel that has both innocence and a slight sinister touch.

“Heavy” affected vocal loops, field recordings, fog like drones, bells, bass thumps come together in a loop based piece that has a sound collage effect.

“Natt” (“Night”) glitchy bells with sound effects and musical of ox sounds acts as an intro of sorts for “Slutet” (“End”) which has a bell-like sound from the glockenspiel as well as long drones, field recordings of wind, distant guitar. The slow drones combine with the field recordings to give a feeling of loneliness, while the snatches of guitar sound like transmissions from a broken radio.

“Right” sees percussive guitar beating with a rippling rhythm that sounds like cassette tape that has been chewed out rewound and replayed resulting in a warped sound.

“4.38 AM” multilayered vocals each with different melodies start of this track with drones bringing in light before the vocals return over scraping field recordings and bird song as if she is welcoming in the morning and the sun is starting to rise.

“Ljudland” drones that sound like a rusty gate screaming as it is opened are joined by what sounds like melodica which has a long breathy drones, field recordings of water and bird song which lead the track out.

“Your Eyes” drones and then beats with cut up Synth sections make this the most electronica track. Synth drones buzz in and our, bell-like loops provide a counterpoint to this beats, which increase with intensity before retreating to a Dubby section. The Dubby section leads to the end and as it reaches its end the beats have a static noise feel.

I have read a couple of very positive reviews for this release, but I am not hearing what others are. There are elements that work, but the overall feeling I have of the release is one of confusion. You are not sure what sort of album you are listening to and the feeling is of sketches that are not fully fleshed out. Tracks like “Bow”, “Cone Around” and “Your Eyes” work well, while some other don’t. I think if the ideas for the pieces be more focused and narrowed down, then the future shows some promise.

Monty Adkins – A Year At Ushers Hill.

The 59th Eilean Rec release aka Eilean 28 is Monty Adkins’ ” A Year In Ushers Hill”. According to the label: “Monty Adkins is experimental sound artist based in remote countryside of the north of England.  Inhabiting a post-acousmatic sensibility, Monty’s work draws together elements from ambient, acousmatic and microsound music producing a soundworld characterised by slow shifting organic textures derived from processed instrumental sounds”

He has been releasing music since 2009 with the majority coming out on the Audiobulb and Crónica labels. “A Year at Usher Hill” is his sixth solo album with his last solo full length coming out in 2015. He also is a Professor at the University of Huddlesfield in the UK.

Usher’s Hill is possibly geographically fictitious as the only mention of a place with this name is in Queensland, Australia. According to the artist (via his own blog) “A year at Ushers Hill is the final part of a trilogy of releases – following on from Rift Patterns (Audiobulb) and Residual Forms (Cronica), based on psychogeography and psychosonolgy. The album was started in July 2016 and completed in July 2017 and is highly autobiographical, charting events, places, and most importantly the people associated with these experiences. For me, the process of creating this album was a re-discovery of memories and the connections between them across time. Composing became a reflective and meditative process: teasing out the meaning of events, celebrating the happenstance, and the pleasure of the moment”.

Psychogeography refers to the study of the effects of geographical environment on the emotions of individuals, while Psychosonology is more like a visual image that may be evoked by the music. You can read more from a publication by Adkins, et al here.

“A Year in Usher’s Hill” is a collaborative release as it features Jonathan Best on Pianos , while Adkins plays Celesta, Organs and Electronics. The mixing is by Monty Adkins and Steven Halliday and mastering by Mathias Van Eecloo.

“Alone” is solo piano which has a muted fog covered sound that has a nice reverb to it which extends the notes. The playing is rather minimal and feels improvised as it does not fall a similar pattern other than ending sections on long notes. The nature of the fog or haze to the track lends that nostalgic feel because it gives an impression of looking back in the mists of time.

“An Eden Within” long granulated drones build up in wind-swept fashion with electronics meeting organ with the delicate pinky plonk of the Celestia giving it an innocent feel. The drones and organ fill the sound and provides space for the Celesta to weave between, but also letting each element take over from time to time to be the focus. Some of the organ sounds give it a “Sorcerer” era Tangerine Dream feel with an ever so slightly proggy touch.

“Shifting Ground” sees the return of Best’s emotive piano playing with a gentle style that is fluid and intimate with a ‘in the room” recording style. You get the feeling of reminiscing and nostalgia from this piece.

“Small Steps” heavy bass notes and starker keys welcome the start if this piece. The Organ drones cone in which add to the feeling of other-worldliness. The Drones have a strong church-like feel which could be natural to the instrument. An alien feel arrives in the form of grainy electronics which support the feel of the organ.

“Radiant Moon” shows delicate interplay with dust-covered glitch loops and celestial chimes. Quite like transmissions from a far outpost of Antarctica.

“In Memorium Jacques Hamel” is a piece dedicated to the French Catholic priest killed in Normandy by terrorists. Naturally with a track that is a tribute to someone murdered in horrific circumstances there has to be delicateness to it. The solo piano is quite minimal in its sound with long emotive, with a tinge of melancholy, notes that fill out the sound as the notes spread our to nothing, much like water ripples on a pond.

“Usher’s Hill” again the electronics give a feeling of a lost transmission, but this time there is a creaking sound to them which lends a nautical feel to them. Bass thuds delineate swirls of organ drones that is layered and also forms part of the electronic experimentalism while Celesta augments the electronics.

“Before Sleep” is shorter track that is full of emotion with its tone of piano playing, the speed and style of playing. Maybe with such a title the feeling convey relaxation, but for me it is of loss or of something that cannot be changed and the emotions surrounding that.

“Solstice” takes us in the proggy style with floating lines, bass sections, bass thuds and occasional hammering of piano keys The track full of melody and experimental leaning musician it is quite rhythmical. Celesta runs almost mimic those of the organ which gives the track big an organic and electronic feel to it. Thus is teach quire different to those in the album and feels a bit out-of-place, but in a good way.

“Burnt Sun” the familiar instruments return with experimental electronics, drones, celesta combing to give an Electroacoustic piece that for all intents and purposes seems to be like a collection of various tones as opposed following a musical pattern. For that reason I can pass on a piece like this.

“Under a Luna Sky” Best’s piano playing comes to bring the album home with playing that is both urgent at times and relaxed at others. There is hint of melancholy, but not morose.It’s like a journey has been undertaken and the music is a reflection of that – some joy, some despair and something in between. Much like this album its many things all at once.

I admit that there are parts to this album that I don’t get. You can easily get bored with music when there is no variation. This is not the problem here, it’s that you are not sure what type of album you are getting – experimental, modern classical or proggy electronics. Sometimes they work together well like in “Small Steps” or when they go more genre specific such “Solstice” which is the album’s highlight, but I personally don’t feel that it works together as a whole.