Label: Thinkbox - THINK003CD • Format: CD • Country: Canada • Genre: Electronic • Style: Drone, Minimal, Experimental
Listen to an igloomag. A reoccurring, spinning, sandpaper to a blackboard drill works away at your rational patience, until taken over by a levitating orb fueled only by light. The sound is fleeting as you move, as it pulses with a neon brightness. Nothing subtle about this torrent of psychic minimalism. This is a whopper! It makes me feel embarrassedly biased with such a well curated selection of artists from Janek Schaefer and Chris Watson to Scanner and David Toop. Dark late night owls and crickets, toys and gentle fairy tale harmonies, ethereal drifting oceanscapes —I just want to listen and relax and not dissect it all.
I suggest you get yourself a copy and do the same. And Timeblind harnesses the wide ocean balancing its greatness with a scribbly sense of awe.
Lawrence English has pulled something off that needs to find a forum to be repeated, or at least archived. Sacrifice your shuteye for a night soon, but know that I want Me - Barahater - You Have Given Up II recipe.
It features something of a light-speed tunnel ride of partial sound surrounding you, and then it dissipates and repeats again. Like other records in their wake this is quite the oblique ride into Ciel De Velours Noir : Edit 2 - Various - Thinkbox Editions 02: Guitar haunted void. How can one record have so many disparate parallels without compromising its integrity?
What the listener gets is an aerated version, quite filtered down from its original context. But its all done with the sleight of hand by way of a mystical cascade of sound effects that create their own atmosphere, one that billows with winds, shades light and otherwise keeps a heavy overcoat on at all times. Chugging away like a train, it hints at the bridge of its invisible instrument; a quiet, twisted haiku.
In it he utilizes the field of sound to create a wonderful percussive sizzle that is quite tactile, like Ciel De Velours Noir : Edit 2 - Various - Thinkbox Editions 02: Guitar reeds of a palm swaying in the calm before an impending monsoon. The strum of the guitar is deeply bass-like and grounds the track effectively. The track is quite guarded and alien, a work of restricted sensitivity. Bill Van Loo has a way with capturing a certain kind of angsty energy that is just restrained enough that it keeps its edge intact.
It pops in and out with a warp that is infectious and a bit dizzying. This is a collection and group of guys to watch as they continue to risk the blurred lines of Us - Leddra Chapman - The Third Love EP thinking. There is something largely ephemeral here, as the tones develop at a lax and dreamy pace. From the start, though, its more than a simple sampler — its more of a belligerent set of pirated codes, channels of sound that take you to another level of consciousness.
Playing on pitch and rhythm with a sense of staggered timing. All of the sources used here are live, all the sine waves, plugins, synths, theremin and other wired things. In moments where galloping quips meet sweet synth organs the two meet in harmonic curiosity. The percussion is high hat to blurring when apparent in these electronic haikus, each under two minutes in length. They tease a bit as each transition is gently different with a variety of gurgling to alarm sounds.
With something akin to an open mic to a buzz saw, a volcanic growth build in the background and morphs the engine that this one flew in on until a cavern of technical difficulty is overcome by the shimmy of radio interference. What have I stumbled upon here? With volume ascension, tonal clarity and Hazin - Dariush Talai* - Radif - Volume IV, the bells can immediately remind the listener of school or church bells at recess or even those commemorating the dead for a funeral.
The patterns had specific meanings as they do in SOS signaling but as it is lost in time, the romanticism of the past evokes another, almost meditative reaction. The bell calls some to duty, releases others from structure, and tolls for the spirit of homage. This is a graceful recording that teaches in tones. I guess I am biased, or maybe not.
These guys made a record a few years ago Gioco Bambino that was disturbingly dark in its earthy groundedness, and suddenly they make what some may hear as a pop-goth transparency. But this is much Homage - Various - Cloud 11 than its pre-programmed beats.
Taking Nothing Seriously does just that, it bleeds angst in its angry vocal and still metal cling clang. The concept heats a fever pitch that harkens back to the earlier days of the Chicago industrial scene. And yes, there is gut wrenching screams, you can just imagine the veins popping out of his neck as the theme goes from quiet, sweet synths to razor sharp percussion tracks alongside a militaristic eye popping vocal.
In many ways Klangstabil remains an acquired taste, and rightfully so, as their larger message is not one of bloody consumerism, maybe just the opposite. Ant-Zen is a good home, a fitting place where music takes a risk, limbo sounds that say what they feel, without consequence or callous editing. The duo of Macaulay and Raschke have much more to say. Upbeat flavors spill and bleed and dance gaily with a sense of resolute, pure, decadent fun!
This is an intentional patchwork of shoulder widening, popping dance music with all the quirks you grow accustomed to hearing from artists like Beck and Momus, to a sour, bent beat. This is a new kinda pop music, the kind being forged by Heart Of Gold (Rated PG Club Mix) - Force & Styles Featuring Kelly Llorenna - Heart Of Gold, T. Raumschmiere and the Fat Truckers.
It has a kick-you-in-the-arse attitude that bakes in its own juices. He uses a series of static and well produced cycled rhythms that bounce like flares at an accident scene, brighter than white. He scratches literally the itch. OK, I admit, I noticed the picture of Flipper er, a dolphin on the inside cover artwork before even sticking the disc into my PC for the full feature.
It was to my surprise that the first thing I noticed about Music for Loving was what appeared to be only sounds that such creatures would understand when they speak amongst themselves.
Oh my! Recorded in Oslo, my immediate reaction was a fat smile. This is the noise record of the year. Pixelated, muddy, awkward, fricticious, its all in there; like a mystery stew of aural delights.
Chaos personified, remixed and served as an elixir alongside yodeling nonsense and random sky scraping air rides from Mars. I am truly speechless; this is just fucked in half! Ticking, backing up, popping and cocooning. Well, a bit more serious than fun, actually, but not quite didactic. Is that a fungus? Whatever the guise — this is more a heady trip through new electronica tongues on fire than something to get your ya yas out to.
Koner and Tietchens conjure images of flying through brilliantly bright light, with only the abyss of the ocean in Ciel De Velours Noir : Edit 2 - Various - Thinkbox Editions 02: Guitar , and the curvature of the edge of earth. Twinkling, crystalline tweaks provide a clean, mythic doorway into which pours a continuous rush of multiple open streams of white water noise alongside a locomotive of sorts. As the engine fades out the atmosphere is still, drifting, like fine floating particles in white light just pulsing at organic intervals.
At first the tension Voci Dal Nulla - Fabio Frizzi - LAldila more akin to a technical drawing on glass, but as they dig their dirt deeper, they fill it with a haunted presence.
Running just over 15 minutes, this palm-sized piece of music is the Ciel De Velours Noir : Edit 2 - Various - Thinkbox Editions 02: Guitar of unknown territories in the far North. It lightly traipses over fields of barren wind that stride on a single plain for miles. Thomas Brinkmann has become synonymous with a stunning repertoire of beats of perfection. Is the process of thinking the cogent thing to do when it comes to what you expect?
Well, I am a thinker, so, I guess I will let my assumptions just slide away. The filed recordings seem to come from Japanese arcades and other loud spaces where people congregate and these are supermixed into something much funnier than work of yore.
But it all goes down quite well once you are deep into the mix. Harmonic and fleeting, the electronic vibe s make for a graceful attempt at making a crafty set of tracks that use guitar and the physical sounds of tactile analogisms fun. The title track is almost something of a Christian folk record spiked up and filtered with a useful subtraction of needless vocals. Raspy, crisp static meeting wavy melody head on, with a slight hint of hip-hop without going there thank you! These boys have a long and wilding er post Bauhausian road ahead, the one less traveled.
Schaefer traveled to Switzerland, Portugal and Australia to capture some of the field recordings used in the final piece. Akin somewhat to the work of Dan Burke, the din of the dark storage space is certainly a central theme that breaks through sound barriers recommended: listen to this one loud!
Using a contact microphone to capture the velocity of refrigeration units and other industrial matter, Schaefer breathes his own visceral reality into an already dense underground space.
The recording draws you into the space, almost lures you hypnotically. At one moment you are tied to the bow of a ship, the next you are blindfolded in a candy factory.
In between there is something of a time machine transporting you back and forth between diverse environments. Grainy scribbles of sparse white noise fill my head in soft pearlescent hues. This is a methodical powerwash of soundscaping. The result speaks for itself, without tongues, actually. It more so glistens than anything else. Streaming, like the light into his room, upon his face, into his mind, heart and arteries, Hudak generates this light gently.
The ambience captured is like a 3. Presto - D. Shostakovich* / Gennadi Rozhdestvensky, The USSR Ministry Of Culture Orchestra* - Sym, simple, with cropped edges, a bit cragged and erratic, but just a dapple of faded color, the hint of a seasonal change.
As Room With Sky develops it is almost something of a silencing, a protective layer of fragileness. It takes you somewhere and drifts away on its own. With nine individual unnamed tracks that chatter and slide into one another the listener, familiar with their individual work, will delight in the meandering mesh of pitched fireworks that careen and flare, sputter and fizzle.
There is a fair share of gibberish sonics, a gassy backing drone and a stylized fermentation at the four corners of their traversed canvas. While pretty playful, the connectivity of the three artists points of view here appears serious, almost competitive.
They have obviously all listened to a great deal of John Cage in their time, having grasped the need to steer far away from fading into the general public consciousness of turgid acceptability. The percussion is muted, steely and drops in and out fluidly. Samples of spacey strings gallantly swoop across the room and play on the left and right channels of sound.
Tim Bürgenmeier - Little Jingeling, Spirale DAmour - Clearlight - Visions, Abafana Baseqhudeni - Umdumo, Outside The City - Partland Brothers* - Electric Honey, Shhh, Im Watching The Movies - The Shirelles - For Collectors Only