Another great one from Amsterdam’s Shimmering Moods, who deserve major cred for putting out øjeRum’s Naar Vi Vaagner in April, this time from the Macedonian Post Global Trio (Dimitar Dodovski helming an array of electronics, Toni Dimitrov gathering field-recordings as well as taking the cover photo, Martin Georgievski on guitar and synth): the ethno-ambience of Minus Seven. Nothing too serious going on here, just four sprawling helpings of some fourth-world music cross-pollinating electronica with exotica and calming field-recordings– pure bliss, but with a lightness to it. Toni Dimitrov’s oblique recordings of nature and everyday hubbub give a relaxing backdrop to the story-travelogue. Playful stabs from synth and swirling dives and re-surfaces in the mix (check “Part II”, in particular) may remind you a bit of dub and the steady pulse of techno. But knowing these guys, this thing was inspired by piles upon piles of ambient and electronic obscurities spanning the globe to the point where there’s no origin that stands out but the heart. Good stuff; make good and dive right in.
Conjoining Currents: Ethno-Ambient, Electronica, Field-Recording, Ambient Techno,
Label: Shimmering Moods
nordBeck is sound artist and musician Martin Nordbeck; his latest tape, a collection of processed field-recordings, Blenterop 1491, is not just an intriguing release in and of itself, but an excellent first issue for Purlieu Recordings, a new imprint from Swedish musician Linus Schrab (one-half of Thet Liturgiske Owäsendet, an ambient project with Johan Fotmeijer that has great new material out on Low Point, Forwind, and Funeral Fog). Blenterop 1491 is accompanied by the digital self-release Blentarp 2017, both recorded in the Swedish countryside of Blentarp in April.
Martin Nordbeck divides his time between electronica and abstracted experimental-type sounds, and nordBeck is intended as the outlet for the latter. These Blentarp recordings are cold and reticent: a set of numbered tracks, nearly all of them suffused by an ominous atmosphere of heavily-treated aural crashing-around-in-the-dark– an unrelenting haze. For nordBeck, assembling the finished works meant to break sounds apart, twist them around, and put them back together into something he could use to comment on his memory and experience of different places. In this obscured, unsettled space, nordBeck’s vision, so obviously painstakingly-edited to create something tactile and layered, starts to appear as beautifully alien as Alan Lamb’s Night Passage.
Conjoining Currents: Sound Art, Field-Recording
Label: Purlieu Recordings
One of April’s finest ambient electronic releases was the latest from Pausal (Alex Smalley and Simon Bainton, a UK-based audio/visual duo): the epic, shimmering Avifaunal, off Moscow’s justly-celebrated Dronarivm. While Pausal have previously been known best for the ever-so-delicate, endlessly-planing pads of ambient drone releases like Lapses, Avifaunal is heavier and headier, often approaching the uneasy grandeur of dark ambient outfits like Troum, Zoviet France, and Yen Pox. The impetus for the release was an invitation to perform at a benefit for Macmillan Cancer Support held in Pembrokeshire, Wales by Touched Music in 2015; from there, this very-much exploratory album that plays with stronger volumes and a more dynamic overall feel than Pausal’s earlier collections was able to bloom. The three tenebrous, shifting “Murmuration” tracks from the opening make a fine centerpiece to this album of dramatic, airborne electronic soundscapes. Check, too, “Spiral”‘s austere, psychedelic sense of mystery. A solid release from a consistently engaging drone/ambient project; give it a quiet evening of your time and take to the skies.
Conjoining Currents: Dark ambient, Drone, Kosmische
Roarke Menzies is a New York-based composer and sound artist whose works intermix the mechanics of the body and analog and digital technology in minimalist electro-acoustic soundscapes. I delved deep into 2016’s Corporeal, and so I was excited to take a gander at his new collection Breath’s Length, released on cassette for his own label Coup de Glotte. The genesis of Breath’s Length was from an idea posited by composer Steve Reich to make the length of a human breath the “shortest measure of musical duration”; for Breath’s Length, Menzies uses his own voice and breath as the main sources for his oneiric, textural sound treatments for the four pieces herein.
When you take the time to take in Menzies’ music, you hear how he melds hardware/software with the organic close enough to make a tenuous dance. To talk about music technology is to talk about how human ability limited by breath, flesh, and bone can be amplified and sculpted into fantastic forms with the help of machines. On Breath’s Length, Menzies situates planing loops alongside his unadorned voice to make that tension clear, and perhaps to do the capabilities of audio technology justice by limiting how much he relies on it. With one foot in that of audio-installation stasis and another in older realms that often sound like sacred music, he creates a sense of wonder for a numbed world. The truly imaginative way that Menzies intermixes old feelings with modern technologies comes across best in “Elegy”, for which he utilized an autotune pedal, applying his gliding vocal drones to an electronic signal. It’s a sound for quiet rooms with towering ceilings, reassuring and pregnant with longing all at once. A quietly excellent release from a master.
As I mentioned in my post for Samson, you can catch the final leg of Roarke’s tour with Samson tonight at Beacon Sound at 8 pm tonight, tomorrow in Seattle at Wayward Music’s Chapel Performance Space at 8 pm (with Norm Chambers, aka Panabrite), and on Saturday in Vancouver, BC at Quiet City at 8 pm.
Bleach for the Stars is a dark ambient project of UK artist Benjamin Powers and The Time for Silver Flowers is his first release for Arne Weinberg’s Cromlech Records. It’s a strange, brackish mixture of wildly-panning, endlessly echoing howls, tribal beats, and static from an alien world of the psychical. An oppressive sense of dread, a percussive, industrial harshness…in crafting this one Powers built something of an Eraserhead-esque ruined urban landscape cast in shadow from the ground up. Particularly haunting are the hideously-distorted vocals that rip through the mix on a track like “The Wild Vine”, sounding more like unreal beasts than anything human. Weinberg made a sharp curatorial choice here, for sure…give it a look.
Conjoining Currents: Dark ambient, Tribal Ambient, Industrial, Noise
Label: Cromlech Records
Samson Stilwell is a poet and sound artist based in Portland, OR whom you may have previously caught on Freeform Portland hosting the Soundspace radio series with Ben Glas. He used to be in an ambient/experimental group called Opals, and now, in 2017, he’s put out Signals, his vinyl/digital commercial debut for Sounds et al.
Like his quizzical, elliptical poems, rich in their evocation of memory, Samson’s pieces are defined by their strong sensory details, whether they be the whispering loops that send nervous shivers through “Raphael, Esther”‘s drone or the field-recording of a silent walk in “Autumn Sliver”. For Signals Samson delves through an eclectic slew of atmospheres, some glitchy and bordering on noise, some more in the vein of serene drone, assembling a familiar whole still without hinting at any particular focus or high-concept. As in Tessa Bolsover’s photography for the release, there is a sensitive, organic vibe to it all; there need not be any specific meaning to search for in any of these pieces, other than to see them as concise snapshots of the beauty of being alive. You take in the skillfully-layered composition of tactile electro-acoustic sound-manipulation/arrangement, and you end up hungry for more– the albums clocks in at just over twenty-minutes. One to take in carefully, and most certainly the first in more great stuff to come.
You can catch the final leg of Samson’s west coast tour with Roarke Menzies in Portland at Beacon Sound at 8 pm tonight, tomorrow in Seattle at Wayward Music’s Chapel Performance Space at 8 pm (with Norm Chambers, aka Panabrite), and on Saturday in Vancouver, BC at Quiet City at 8 pm.