Hello Music Lovers! I know it’s been a few weeks since sharing anything to this website – the world has weighed me down in all directions – but thing like this only slow us down….. A small thank you to everyone who has stuck with us, this website has been around a long time and we have no intention of going away!
Without further jibber jabber – I am enjoying some really mellow Monday tunes over here, a fresh release from Seouls CHO OYU label – a wonderful little hub for experimental ambient music. สวัสดี 𝐇𝐢𝐛𝐢𝐬𝐜𝐮𝐬 features 6 collaborative tracks created by Lua with assistance from Thai multi-instrumentalist Phayam. The project on a whole is very cozy and warm – touching flavors of hope and melancholy, giving the tracks some proper depth.
There is almost 2 sides to each track – a background is painted with lush textures and pleasing progressions – only to act as a stage for plinking and plucking piano riffs that are ultimately satisfying. Tracks like 𝙉𝙤𝙬 𝙄 𝙐𝙣𝙙𝙚𝙧𝙨𝙩𝙖𝙣𝙙 opt for a more stripped-down approach that I can really appreciate – the meditative nature of 2 hands wandering on a piano combined with the overall vibe of the album leads to quite a blissful mindstate…
The album is available now via CHO OYU’s bandcamp page – do yourself a favor and pick up their discography while you’re there – for about 8 dollars you can get all 10 of their releases including this one – so if you find yourself agreeing with this vibe, go and show some support!
New dub-techno sounds from Lithuanian label Cold Tear Records , home to some favorites like Vytis, Joergmueller, Slownoise and Heavenchord, we have a nice and mellow 4-track EP collaborative effort from Thomas Carmody & Altone – Cornflower and Camelia. It’s a tight and pleasant collection of tracks with lots of atmospheric play and subtle sound evolution. Hearty in length, the producers don’t rush the movement – building around slow and steady changes. Repeat listens will only leave you more satisfied than before.
Headphone Commute is one of my favorite places to discover interesting new ambient music – much to my delight they have a new featured mix highlighting minimal sound label Home Normal to commemorate their 10th anniversary. Quite the achievement indeed, and worthy of celebration – much like the mix, which is packed full of blissful atmospheric soundscapes, masterfully curated for optimal relaxation and immersion.
Presented by the illustrious Illuminated Paths crew is this phenomenal collection of tracks from Holobeams, ILLUMINATION!
Beautifully melodic and upbeat – ILLUMINATION soars through 10 tracks in an amazing swirl of synthesized atmosphere. The bubbling energy is bursting at the seams – with satisfying beats leading the way. Deeply satisfying progressions as well, inspiring feelings of comfort and nostalgia. IP recommends you listen on a Tape, and I think they might be right!
Echospace kicks back into action this year with an amazing remastered and reimagined project – subtraktive by cv313. A healthy detailed explanation regarding the history of this piece can be found on the albums bandcamp page – recounting the original incarnation from 2007. Subtraktive is a massive atmospheric exercise in dubby ambient techno, with the release highlighting 4 different angles of the same energy. Including unique segments culled from live performances, creating some very enjoyable longform tracks.
The project is available digitally as well as an impressive CD set containing the standard release along with 3×3″ minidiscs.
Sitting, trying to study I looped a sample I had been working on in my DAW. This sample stayed playing for approximately 30 minutes – on repeat. I stumbled upon ‘Moontides’, named after the complicated interplay between moon and tides. Rhythmically massive, the relationship is nevertheless tangible and can be seen at work on any coastline.
In this work I have taken sounds and stretched and manipulated them, warping tempo and rhythmic structure. All of the samples start at the same time, but due to their differing lengths they never ‘complete’ together. Combined with volume automation this allows for a release of constraint. Take, for instance, traffic noises in the early morning mingling with the sound of birds outside your window. The two sounds merge, relate to one another. They are not pre-planned, but are rather rhythmically spontaneous – the rhythm emerging as it becomes. This symbiosis, this rhythmic chance, is allowed to develop in the repeated playing of samples.
There exists, nevertheless, a structure. The song ‘wraps around’ as a bar (or a complete rhythmic unit) as the piece finishes. Therefore, each element never sits parallel, but rather its position to other elements shifts continually. Frankenstein’s monster, a complete butchery of beauty. Notes, preludes, sonatas and other flotsam and jetsam. It came out of an idea (an attempt) to do away with scales and notation and see what happened. All of the keys and scales are by ear, elements are pitched according to feeling, not rule. Tones clash, do battle and drift apart falling into harmony then dissaray.
Doing away with working within a Western theoretical understanding of music is not novel, and I do not pretend it is. This is purely a piece of pretentious imagination. However, the musical bastard – as I have so named this project – exists and is out here for your pleasure or pardon
Incoming drone goodness via collaborative project Glowing Swords, consisting of Zachary Corsa (Nonconnah, ex Lost Trail) and Scott Cortez (Astrobrite, Lovesliescrushing). The Autumn Elegy brings us 10 tracks of soaring, fuzzy noisescapes that are both lush and withering. A thick haze forms over each track, at some points obscuring the senses entirely in pieces such as Calrn which seem to be performed in some otherworldly etherial cavern, then broadcast to the countryside over AM radio. It’s musty and dusty and I love it.
What really grips me about this album is the hidden melodies my brain finds. There is a very therapeutic and rewarding quality to the blissed-out leads that seem to drift in and out of the mix. It’s often right when I am beginning to succumb to the world the track is building, the moment disbelief is suspended, that these melodies creep onto the canvas and introduce a whole new vibe! These gems are what make this album a good repeat listen in my opinion; being an album that can be enjoyed both subliminally and intellectually.
You can download the album via Bandcamp or purchase a Deluxe CD edition via Wist Records which looks so cool! It’s got tons of additional goodies
Dayton Ohio’s Coppice Halifax brings us two long-form projects to ease us into the coming summer. Springthaw is a unique and robust project, utilizing live recordings and improvisation to create vivid soundscapes. With all 4 tracks from the 2 EP’s played back to back, it results in nearly 2 hours of dense sonic exploration, reaching into the dark corners or ambience, electronics and dub tendencies.
Both EP’s are available via bandcamp either as Digital Downloads or Compact Discs.
Initially conceived as a more open-ended project, Springthaw manifested itself as four near-half-hour pieces that herald the arrival of Spring. This second volume contains the third and fourth pieces recorded for the project – Dark Room and Wind Hues – both bubbling over with organic textures and floral hiss. Deep dub techno basslines and rhythms anchor a drifting pastoral landscape of melting ice, blossoming color and bounding green hills.
Springthaw was improvised and captured live in the White Pillar Workshop, using a Gemini PDT-6000 turntable to select sides of heavily processed vinyl (solo piano pieces and chamber music) which set an atmospheric tone above/below a Korg ER-1 drum machine, Yamaha QY-70 sequencer, Grass S10CTCMA and a Unisonic “Chippendale” 8-track receiver (channeling local AM radio stations), augmented by FX units including three Moogerfoogers, Alesis Quadraverb, Pioneer spring reverb box, Boss RV-3, SL-20 & RC-20 and a Behringer US600. Everything was mixed on a Peavey FX24 hybrid mixer, and resident collaborator John-Paul Kramer (Coal, Casio Commander) assisted with pitch and modulation of the vinyl sides during three of the four performances.
Springthaw is (at present) a two-volume set, much like the previous Earthworks, Autochromata and the as-yet-unpublished Cedar Mastodon. Time, and seasonal change, will tell whether or not there will be further installments next year. The two volumes make a solid companion/postscript to the recently reinstated 24xCD-R set Dripping Earth, which also venerates Spring in its own way.
released May 30, 2017
W/P by Brian Grainger. Recorded live at White Pillar Workshop, March 2017. Assisted by John-Paul Kramer on “Dark Room”. Mastered by The Analog Botanist, April 2017. Photograph by Brian, Dayton 2017. This is Milieu Music number ABX63.
One of my favorite Dub-Techno Producers Lars Leonhard has dropped a new project titled “Interstellar”. Not to be confused with the Hollywood blockbuster from a few years back, this “Interstellar” is deep, dark and delicious. 10 tracks of brilliantly sculpted techno tunes floating at a comfortable 120 bmp. I have always been impressed with Lars’ ability to blend darkness and melody to create unique atmospheres, and this album is no exception!
You can download the album via Bandcamp. You can also get nearly 20 of Lars’ albums bundled together at an insane discount, definitely something worth looking into if you find yourself enjoying this release.