|
| |
|
------Thom
Brennan - Signals In Moonlight |
| STYLE |
|
This album is something
of a departure from Thom's other recent albums - here interwoven
among the familiar broad expanses of ambient sound we have
sequenced synths, burbling arpeggios and even some soft beats.
Having said that, the album opens with the beat-free 'Emeralds
In Water', a beautiful soundfield piece positively glowing
in translucence. The rhythmic tracks are subtle with sequencer
sounds rising and falling like a lazy tide, gentle drums or
tablas pattering within and across the liquid mix and always
with thick layerings of silken electronic drones - some as
deep as the ocean, others adding a sheen, like shafts of natural
light. |
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| MOOD |
|
Bright in the way
that moonlight is bright, floating against darkness in all
its densities. Restful and natural atmospheres that sometimes
drift as wistfully as a leaf on a still millpond, sometimes
shudder on a sonic breeze and sometimes pulse radiantly with
languid, gossamer percussion. |
| |
| ARTWORK |
|
I
have the orange-blue cover artwork, which is vivid and minimal,
with just enough detail to create a representational impression.
The banded colours suggest atmospheric vistas - open air,
open water, open mind. Text is again minimal and is even completely
absent from the inner booklet. The titles are bound to the
landscape with such concrete settings as 'Seattle' and 'San
Francisco' acting as stimuli or the less specific bearings
of 'Waterfront', 'The Fog Unveils' and 'Northward'. |
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| OVERALL |
|
Nine
tracks of flowing, beguiling 'liquid velvet' sound. All are
gentle, glowing pieces rooted in real world locations, full
of a sense of belonging - as if they should be looping continually
in the air at the place they were conceived. Thom's dense
ambient planes are carried well by the rhythmic structures
he has created here and the non-rhythmic tracks are as lush
and inviting as any of the longer compositions he has produced. |
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| WHO WILL
LIKE THIS ALBUM |
|
This
CD might work well as an introduction to Thom Brennan's work,
especially for the listener who hasn't yet delved too deeply
into complete drifting, beatless ambient music. Whatever restful
thing you like to do - do it to this music ... or better still,
do nothing. |
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|
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|
------Bluetech
- Elementary Particles & Prima Materia |
| STYLE |
|
Psychedelic, intelligent, electronic
dub music with multiple layers of soft-synth experimentation
and whispering hints of ethnic influences. Bluetech produces
a busy sound with a fresh digital feel - there is an obvious
precise attention to detail both in composition and in production
technique. Clearly the artist enjoys re-engineering sound
sources, injecting echoing snippets of voice, manipulated
world music elements and reverberating textures of computer-generated
noise. The overall effect is complex, clear and blissful. |
| |
| MOOD |
|
The
mood is chilled mid/down-tempo, yet thanks largely to the
clean, crisp dynamics, frequently upbeat and light in tenor.
There are a range of influences evident, with the composor
drawing on many musical genres from reggae and dub to jazz
and classical. However, everything works together in harmonious
unity to form a distinct 'Bluetech' sound constantly shifting,
thick with psychedelia. |
| |
| ARTWORK |
|
The
artwork on this double CD is in keeping with Bluetech's vision
- 'both organic and digital at the same time'. Strings of
flowers overlay kaleidoscopic background imagery with deep,
glowing colours. The photography is sharp and warm, the composition
impelling, whilst the text is simple and clear, not interfering
with the graphics and giving us all the information, credits
and thanks we need. |
| |
| OVERALL |
|
This
package re-issues Prima Materia (originally released on
Waveform) and the Elementary Particles EP (available on
Native State) together as two hours of blissful chilled-out
psychedelia. There is an enchanting, otherworldly, hi-tech
atmosphere as Bluetech aims to capture "that element
of the fantastic that underlies normal reality that peers
through in dreams". Tracks work as a seductive "doorway
for that energy" carrying the listener off on mind
trips that work well with the ambience of the night. The
track Triangle on disc two is a remix of an original piece
by Sounds From The Ground and we also get a guest remix
of Bluetech's own Prayers For Rain by J. VIEWZ on disc one. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
This
is pure synthetic bliss, with emphasis on trebly dub beats
and exploratory electronics. If you enjoy psy-trance all
slowed down to a swaying pace, digital experimentation and
desk-top mystical wandering - try this double album. Although
Bluetech does live shows, his music has a distinct 'studio'
feel to it, so this will appeal to those liking painstakinkly
constructed sonic architecture rather than 'live' musical
performance.
|
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|
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|
------Lesiem
- Auracle |
| STYLE |
|
Choral, orchestral,
electro-rock with the choir of the German opera Berlin. Many
tracks with solo female vocals in English, courtesy of Maggie
Reilly. The Lesiem sound is majestic, soaring and operatic
- at times reminiscent of a big rock musical production with
electric guitars and powerful drums. |
| |
| MOOD |
|
The mood here is
one of grandeur and passion - combining "operatic melodies,
diva inspired vocals and worldbeat influences", although
the worldbeat elements are not dominant. Heavy string and
voice arrangements are interspersed with quieter moments where
flutes or pizzicato effects anticipate the next crescendo. |
| |
| ARTWORK |
|
The
artwork is suitably heavy and lively, quite a feast for the
eye. Thick earth and rust toned textures and scrolling letters
merge with historical line drawings and swirling graphics
to form an attractive unity. The idea is to stir up "sleeping
myths and slumbering fables". The digipack that I have
features titles in Latin (but I notice Amazon list all the
tracks in the English language) which adds to the overall
image of manipulated antiquity. Sleeve notes are extensive
with credits for the players and singers. |
| |
| OVERALL |
|
Auracle
was initially released in Germany under the title 'Times'
- now reissued by Intentcity the music has been remastered
and repackaged under fresh artwork. The stand-out features
on Auracle are the pomp of the choirs, the bold female vocals
and the expansive interplay of orchestra, rock guitar and
electronic effects. Despite the suggestions, Lesiem don't
really sound like most other acts out there - they fill a
niche all of their own. Listen to the samples at Intentcity
for an idea of what to expect. |
| |
| WHO WILL
LIKE THIS ALBUM |
|
Fans
of Gregorian chant fusion looking for something with a feel
of grandeur rather than downtempo chill-out. Lesiem would
suit those leaning toward adventurous rock rather than pure
modern electronica. If you like your choirs live rather than
sampled, if you enjoy real drums and guitars - Lesiem combine
these well with the orchestral backbone of their overall sound. |
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|
|
|
|
------Ishq
- Orchid |
| STYLE |
|
Exotic ambient electronica. Orchid
is a twinkling jewel of sound, there are subdued melodies
sunk into a setting of synth wisps, chimes, bubbles and drones
along with female voice effects and the sounds of nature.
Jacqueline Kersley is credited as vocalist contributing tones
and utterances that complement the overall effect perfectly.
Only the first track 'Skyblue' has a beat running through
it, the rest are either more subtly rhythmic or just drifting,
floating in nature. The synthetic and the organic are very
well woven together on Orchid, often being hard to distinguish.
|
| |
| MOOD |
|
Eleven blissed-out
digital soundworlds. Sensual, alien, exotic - like a walk
in a tropical rainforest dripping with liquid colour and
buzzing with glistening sounds. The patterns are often hypnotically
cyclic with droplets and trickles, waves and washes of tone
all gently blooming and falling. Gulls, waves, breezes,
insects, bells, wires, strings, pads and atmospheres intermingle,
morph and revolve in layer upon layer of fluid production. |
| |
| ARTWORK |
|
There
are two editions of Orchid, the original released through
Interchill Records and the extended two CD version available
through Dakini Records. I'm fortunate enough to have the
double album, which is a sumptuous digipack. The mental
imagery I have, listening to the music is almost perfectly
represented in the artwork (is that because the artwork
inspired my imagination in the first place or just because
it fits so well?) cyan waters, lush greenery, sensuous blossoms,
lens flare, bubbles and ambiguous emblems and motifs. The
text is simple, telling us what we need to know and pointing
to the appropriate web sites for contact. |
| |
| OVERALL |
|
The
ultimate in ethereal, magical soundscape creation. Orchid
drifts beatless and weightless like the shadows of clouds,
or pulses with haunting beauty amid a myriad water drops
or even luxuriates for a while under a chilled shuffling
beat. For the most part this is an ambient album, but one
full to the brim with detail and understated melody. The
depth and texture is enthralling, ethnic instrumentation
wafts in and out casting a beguiling glamour and we're buoyed
up and carried on meandering currents of digital ecstasy. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Perfect
for lovers of dreamy digital/organic electronica. If you
want soundscapes of exotica, visions of paradise or sonic
incense - this is for you. Ambient music with plenty of
detail to focus on, constant variation and some melody.
Ethno-electronic fans might well enjoy the use of global
sounds and real-world environments.
|
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|
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|
------Aria
(Paul Schwartz) - Metamorphosis |
| STYLE |
|
Light chilled beats
and synthwork exquisitely blended with classical sounds. Paul
Schwartz takes "small excerpts from powerful moments
in opera", both instrumental and vocal, and then builds
these into contemporary "ambient/dance soundscapes".
The pieces are all very melodic, ranging from soft tranquil,
piano and orchestral moments to light, beat driven chillout-opera.
The strings and organic sounds of the various live instruments
weave smoothly among the electronic structures and the beats
move effortlessly in and out without ever sounding incongruous. |
| |
| MOOD |
|
Light and dreamy
for the most part, however, there is passion in the arrangements,
especially where the classical aspect is most strongly developed.
Metamorphosis is largely a relaxing album, sensual in places,
with some powerful passages - but the emphasis is on laid
back grooves and lullaby sounds that evoke the wings of angels.
The sounds used here are not primarily sampled sounds; the
feel is that of a 'live' production brought into the studio.
A large string orchestra and the vocals of Rebecca Luker bring
a living, breathing realism to the various pieces. |
| |
| ARTWORK |
|
I
only have the advance copy of this CD so I probably can't
do justice to the artwork of the full package. The cover image
follows in the vein of the first two Aria CDs - photographic
montages of performers, musical symbolism and rich textures.
This time the whole affair is tinted in a yellowy-sepia tone.
The track list includes two special bonus tracks, one from
each of the previous two Aria albums. |
| |
| OVERALL |
|
Paul
Schwartz has continued the Aria project now into this third
album of the series, which might well be the best of the set
so far. Paul is well suited to such a melding of opera and
contemporary instrumentation having served as Assistant Conductor
of the Pittsburgh Symphony and Musical Director with a number
of musical stage productions. Interspersed among the main
pieces of the album are three instrumentals, Metamorphosis
1, 2 and 3 .... these are gentle piano and string excursions
highlighting Paul's obvious compositional skill. Along with
the two bonus tracks the whole album flow comfortably, rarely
straying far from the main agenda - soothing the listener
with waves of strings, heavenly voices, synths and easy grooves. |
| |
| WHO WILL
LIKE THIS ALBUM |
|
If
you like the idea of classical-crossover, if you enjoy the
sounds of the orchestra, operatic voices and modern electronic
arrangements - this album is a quality production. Music to
have you carried away by angels - light, bright and full of
emotion. |
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|
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|
------vidnaObmana
- Spore |
| STYLE |
|
Spore follows
on from Tremor as the second part in vidnaObmans's trilogy
inspired by Dante's Inferno. An eerie, dark ambient album
with mutated ethnic elements and echoes from an industrial
heritage. The nine tracks are largely rhythmic, often with
strong techno-ritualist programmed beats. VidnaObmana is
credited with the following sound sources: Atmospheres,
rhythms, various Fujara's, overtone flutes and percussion,
dreampipe, recycling & abstract mutations, voices, electric
guitar and E Bow harmonics. We also have guest appearances
by Marc Verhaeghen on trumpet and Joris De Backer with double
bass and strings. Without becoming melodramatic, Spore explores
uncomfortable sonic territories and imagery with paradoxically
the most unearthly section being the sonorous, muttering
human voices on Skin Strip.
|
| |
| MOOD |
|
Discomforting,
nightmarish atmospheres thrumming with a strange beauty.
Trance inducing repetition and tense electronic mutation
gives way to brief moments of calm and grace before the
creeping rhythms start up again. A sequence of gothic bass
guitar notes like the tolling of a dull rusted bell leads
some tracks onward. Some of the sounds are uncomfortable
to hear - but the sleeve notes tells us: "All extreme
high and low frequencies, feedback and dissonant harmonies
are intentional and part of the composition. Please handle
the playback of this CD with care". |
| |
| ARTWORK |
|
The
graphic approach is at unity with that of Tremor - Martin
Verhoeven's large, textural, grainy photographic abstractions
contrasted with razor sharp panels, text and graphics. The
quote from Inferno chosen for this album is "Hope nevermore
to look upon the heavens; I come to lead you to the other
shore, To the eternal shades in heat and frost". Whereas
the descent of Tremor was black and white, Spore is sepia
toned with highlights of red text - it seems that at the
lowest point there is colour....this reminds us that Spore
is a musical exploration of a place - a place that means
different things to different individuals - hence the hues
and tones, although undeniably dark, are no more frightening
than you choose. |
| |
| OVERALL |
|
VidnaObmana
is often called an 'ethno-ambient/dark ambient/electronic
artist' and I guess they're possible labels (if somewhat
simplistic); this CD is certainly dark and electronic, it
has some ethnic instrumentation and the structure could
be seen as ambient since melodies are not prominent. Truly
though - vidnaObmana is a trailblazer, Spore sounds very
different from most other music, experimental although not
hard to listen to (nevertheless, in places, challenging
or even attacking the nerves and senses). As with Tremor,
the production is immaculate, each twisted layer and texture
having its own frequency space to turn in. |
| |
| WHO WILL
LIKE THIS ALBUM |
|
If
you enjoyed Tremor, Spore is a gratifying development of the
same theme. vidnaObmana music at it's most powerful, pioneering
and well presented. But beware, you don't have here an album
of easy melodies, comfortable beats or drifting ambient bliss
- this CD is a dense, gritty post-industrial bouquet of dead
roses, alluring and elegant but bleak, rich in symbolism and
conscious of its own mortality. If you want to depart the
beaten track and visit sound worlds that provoke rather than
sooth, that probe new terrains rather than play safe - try
Spore. |
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