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.

Francesco Giannico & Giulio Aldinucci – Reframing.

We find ourselves with the 58th release from the French imprint Eilean Rec which comes from Francesco Giannico & Giulio Aldinucci. Considering the first release came out in April 2014 with 53 of those coming out in the first 3 years, that would mean the label (going at the same release rate) will be finished approximately 2 – 2.5 years from now.

This was released in an edition of 150 copies and is all sold out from the label, but limited copies are/will be available from Stashed Goods and Experimedia.

“Reframing” sees Italian artists Francesco Giannico and Giulio Aldinucci pair up again after the Dronarivm release “Agoraphonia” from 2016. Giannico has featured on labels such as Somehow, Oak Editions, Time Released Sound and Unknown Tone to name a few while Aldinucci has appeared on Home Normal, Time Released Sound, The Long Story Recording Company and others. The pair come across like well suited collaborators.

“Reframing” opens almost like a needle is placed mid track and the record player is turned on. Church organ like ethereal drones float below field recordings of street conversations between children with subtle electronics cutting in to the piece that provide delicate swathes of sound that make the track have depth, but also give a little bit of haze as well and as this was released towards the end of the Northern Hemispheres summer season, a summery feel.

“Encoding” blends Electroacoustic soundscapes with abstract drones, bells and chimes alongside a series of drones that vibrate with intensity and at times feel almost like proggy Synth progressions.

“Storage” is where the experimentation starts with an alien soundscape that cracks, pops, flickers in and out at times feeling like a subdued Merzbow outtake than a Drone piece. It feels like a transmission from some sort of SCI FI film that is about loneliness, abandonment and decay.

“Retrieval” has a similar tone, but not sound to “Reframing”. This is a pure Drone piece that slowly stars building up with multiple layers such as the glacial bottom layer, the muddle bass like layer and then the top melodic layer. Once it reaches the crescendo the main drone becomes a fusion of the glacial and melodic before a hive like electronic sound starts buzzing around. A darker piece starts building in the left hand side and comes on like a storm engulfing the whole piece with the drone sounding like a wind gale that pulses with intensity for several minutes before it is heard as a somewhat distant storm that is threatening to return before it fades to silence.

“Iconic” swirling winds, scatter of gun fire like sounds, looped water on a tin roof sound, modern classical piano, field recordings, ambient synths and looped decaying electronic sounds all come together to form a piece that has depth of sound for the listener to get hooked on. The blending of different tones and elements means that it is not one-dimensional. The artists let the elements come in and our, give them space, but also allow for them to compliment each other. The shortest of tracks on the album at 4 minutes and thirty-two seconds could easily go for a few more minutes.

“Echoic” sees a track where the elements that have been included in the preceding five tracks come together, but with subtle added other sections like a fast beating heart beat, walls of noise, the sound of contact mikes being played with. The piece comes like a fusion of a Electroacoustic artist and an ambient artist constructing a track that has a foot in both camps and seems balanced between the more ambient beginning and the Electroacoustic ending.

“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.

Josco & Spheruleus – Folded Distance.

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

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

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

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

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

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

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

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

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

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

Toàn – Histós Lusis.

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

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

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

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

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

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

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

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

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

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

Bill Seaman – Erasures And Displacements.

Bill Seaman returns to the fictitious island of Eilean with “Erasures and Displacements” (Eilean 78) his first since 2015’s “f(noir)” (Eilean 33) and is joined by Owen Sidney Richardson on Contrabass and Electric Bass Library,  Craig Tattersall with Synth Bass Library, Robert Ellis-Geiger on Trumpet,  Cornet and Flugelhorn Library, and Jonas Braasch with Horn Library for the track “The Sea’s Enfolded Signatures”. Seaman who has released on the Cotton Goods label and collaborated with Craig Tattersall on The Humble Bee & Players and The Seaman and the Tattered Sail could be, as hinted in the press release a musical librarian than a musician solely.

“I often work by making libraries or asking people to contribute a library. With the contributed library I often give the players simple verbal instructions, or sing notes I am interested in including. With the piano, I sit down and do a series of improvisations. I then go though these and edit my favorite parts, building a series of fragment libraries, some with little or no abstraction, some greatly abstracted with Ableton Live. To make the library I basically “erase” most of the recording, and “displace” it by building up a new set of musical relations in Live (hence the title of the album) [although there are many readings to these two terms]. I compose in a very sculptural manner with Ableton, dragging things in from the libraries and trying things out often exploring chance related juxtapositions. I build up structures, cut/copy/paste complex layered sections, erase sections that are not working, loop things, and slowly construct a track going though many iterations. I often later cut away at the built up tracks, and edit the piece down, further articulating a structure. I often finish with having between 30 and 50 tracks. In the final set of passes I fully articulate the psychoacoustic space, working with panning, eq, distortion, abstraction, and reverb. I further edit and structure the parts that begin to “work”.”

“Erasures and Departures” is a double CD that clocks in just under 85 minutes over its 14 tracks. Expertly mastered by label boss Mathias Van Eecloo, the release is a lush piece of work which covers many genres and sold out it’s label stock of the limited (180 copies) in 3 days of pre-order availability. 
“A Visual Record of Scratches Reflecting on time” features emotive piano playing, multi layered glitches, drones, microsounds samples, washes of sound and on some way has a slight feel of The Necks, I guess in Seaman’s piano playing and the use of space. Even there are a decent numbers of elements going on, they don’t cloud or pile over each other. The piano, drones and glitches compliment each other while having their own space.

“A Structured Removal, The Balance of the Pulse” follows on in a similar vein with the construction of the track. The multi layered glitches are the focus of that is piece with layers of sound underneath, such as drones, piano, percussive sounds. Sounds whirl and pan left to right and the emotive drone ends out the track. Due to Seaman’s editing and redefining process the drones could be from any of the libraries such as Synth Bass or Cornet. The standout feature of the track is that despite the various different elements the coalesce into one quite nicely. 

“Collections of Relational Introspections” starts off highly edited with backward pieces of sound, glitches, drones, layered piano and the sounds of machines whirring and breaking down. The track is rhythmical, but not in the way that any loops or parts of it are repeated in such a way as to be predictable and timed. 

“Altered Instruments, The Removal of Time” starts with sounds of decay. Chimes, Glitches and Drones contribute alongside mournful piano to a sound of things breaking down. Rhythmic loops with the complex highly edited music of unknown source (maybe Seaman himself would be the only one to identify specific sounds?) make for a post apocalyptic sound with some some sort of Eastern feel which reminds me of some of Dead Can Dance’s instrumental tracks.

“Entering the Library of Collapsed Moments” features metallic glitches, Distorted Cornet, Piano and despite its name doesn’t fall apart. There is a lot of space in this track which allows it to breathe and evolve slowly with each instrument unwinding clearly and pleasantly with not one element overpowering another.

“The Somber Space of a Word” has affected Cornet that phrases in and out, Piano and drones that are joined with an almost orchestral sound, possibly elbow guitar. Unlike the earlier glitch tracks this is the first with a filmic sound to it. The track has a sinister suspenseful edge to it with a feel of noir. Some of the sounds  are punctuated with a percussive edge. The layering of drones and piano makes the track.

“Watching from Within The Library of Melancholy Gestures” sounds like a continuation of the previous track  with some of the previous elements with what sounds, in sections, electric bass. The piano with elbow guitar driving on top of it, the hiss and the drones continue in the filmic vein. For someone who works with piano improvisations,  they come across as well planned, but this could be the art of the editing.

“A Circulated Compendium of Machinic Thoughts” sees the decaying glitches return with a rhythmic clock like loop, sounds crawling over each other and fall apart. Sharp soaring drones cascade and screech while the machine breaks down.

“The Lie of the Perfect Empty Seat” sees low level wind noise accompany piano, before drones and multi layered orchestral like pieces come in, electronic pulses flitter in and out. The parts come in and out, just when you get a grip on the track it changes. The electronic pulses become semi percussive and leads the track out with drones and a final piano stab.

“Slow Motioning Through Scattered Reflections” sees the horn library come to the fore with piano and drones accompanying the horns (presumably the Flugelhorn) making for a mournful track. Layers of instruments come in an out and sections can be quite minimal , while others can be full of sound. Ebow darts in amongst piano stabs, while drones hover. The horns created almost vocal feel as if someone is singing and work well with both the piano and Ebow guitar.

“The Reflections Inherent To A Chosen Room” sees Cornet blow over a minimal beginning with low level hiss/glitch and piano while highly processed loops scatter about and field recordings fade in and out. This is one of the more experimental and improve like of the tracks on the album. 

“The Machinic Exhale” begins with piano, drifting drones, glittering glitches, shimmering Ebow and has a somewhat beat less post rock theme to it. The elements work together smoothly and the track doesn’t wear out its welcome and could be enjoyably longer.

“The Sea’s Enfolded Signatures” harmonic drones starts off with field recordings, foreign vocal/speech sample, piano and glitches with Jonas Braach’s Horn Library being used and giving a haunting long lasting drone that curves around the other elements and also giving a counterpoint to the piano that punctuates the track.

“The Illusive Space of A Thought” begins with rattling glitches, cornet, mechanical sounding loops, field recordings, broken electronics, plaintive sound and panning scattershot sounds. 

This album is not one that can be easily pigeonholed.  Is it Ambient, Drone, Glitch, Experimental or Electroacoustic?  It is all these things, but not all at the same time. With 14 tracks and 85 minutes there is alot to take in. Some tracks work  better than others (“The Somber Space of a Word”) coming to mind as a highlight), but all are worth repeated listening to get all the layers, textures, nuances and effects.

While it has sold out at the label, it will be available through Experimedia (July) and Stashed Goods (later in June).