Music Reviews



Y. G. Hanedan: The Voyage

 Posted by Edward Trethowan   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Apr 19 2017
Artist: Y. G. Hanedan (@)
Title: The Voyage
Format: Download Only (MP3 + Lossless)
Label: self-released
Distributor: CDbaby
Rated: *****
The voyage to which this album's title refers is, its description elaborates, "an imaginary post-modern vehicle journey". Its ten stages are clearly titled as references to various stages on this adventure. For instance, 'The Dark Forest', 'Barren, Damp Hilltops' and 'Stopped to See a Distant Storm' conjure images of tangible landmarks, while 'Faint Images of the Past' or 'Curtain Flap over Anxiety' seem to tell more of the emotional state of the traveller. The tinge of noir is enhanced by the cover image: the lights of a solitary vehicle (difficult to make out, but I reckon it's a metro train) vanishing into darkness.

Hanedan's palette of sounds is highly consistent thoughout The Voyage; from many instances of similar effects to the recurrence of the same melodies and loops over multiple pieces, it all feels tightly woven together from the same fabric. Slow and somewhat aimless, each piece is simply structured but texturally dense and, occasionally, very peculiar. The first six tracks are all buffeted by similar layers of thick, rapid shudders. On 'Curtain Flap over Anxiety', these are mixed with a high-pitch beeping that filters in and out of range, a lonesome guitar section, an occasional synth wail and several other textures. These unrelated elements produce a disorientating narrative; at once sophisticated, naive, atmospheric, elegant and awkward.

That the ten pieces are self-contained rather that mixed, and that each has an ambient structure rather than conveying much movement, seem to be obstructions to the notion of the album overall as a journey. But seen as vignettes, as moments languished at the stations or bus stops punctuating the journey, as well as on long, unchanging roads protracted by tedium, by exhaustion and by the night; watching passers-by and overhearing conversations - then they begin to make sense. If it were possible to make field recordings of someone's subjective experience of a half-remembered night of noisy, gritty transportation and gloomy reverie, they might very well sound like the remarkable chapters of this album.

Johan Agebjörn and Mikael Ögren: We Never Came To The White Sea

 Posted by Steve Mecca   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Apr 18 2017
cover
Artist: Johan Agebjörn and Mikael Ögren (@)
Title: We Never Came To The White Sea
Format: CD
Label: Spotted Peccary Music (@)
Rated: *****
'We Never Came To The White Sea' is a collaboration between Swedish artists Johan Agebjörn and Mikael Ögren, an original soundtrack to an unreleased road movie of the same name. Agebjörn has worked solo in ambient electro and also disco (neo-italo disco) with singer Sally Shapiro with several albums to his credit as well as remixes for others. As for Ögren, he's a priest by profession but also a synthesist heavily influenced by electronic pioneers Kraftwerk and Jean Michel Jarre, as well as '90s trance innovators. The two, being neighbors by location are often frequent collaborators. Also present on this album is the (wordless, sampled) voice of Sally Shapiro, as well as contributions by Tommy '86, Anneli Andersson (vocals), and Anders Frostin (violas). Obviously the music is cinematic in nature being a soundtrack, and it has a huge lush melambient (my word; melodic ambient = melambient) quality to it. Although the album begins with what one might take to be a New Age melody on "As I Passed The Vyartsilya Border Crossing," (a recurring theme) this is not what I'd call New Age music. There are passages where the rhythm is a little too powerful for that, such as the bold bass on The Lights of Lakhkolampi Pass By," and other sections where the ambience tends to turn dark. This is an album of many moods and influences, and Agebjörn and Ögren have combined their talents to take you on a trip with numerous facets and moods. While the melodic content is heavily indebted to Jean Michel Jarre, the rest recalls such artists as Klaus Schulze, Vangelis, Pete Namlook, Patrick O'Hearn, and the ambient side of Art of Noise. This is really a beautifully composed and produced album full of enchanted mystery and beguiling atmospheres. The voices employed go a long way to enhance this. 'We Never Came To The White Sea' is likely an album to remain on my playlist for some time to come.

Tashaki Miyaki: The Dream

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Apr 16 2017
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Artist: Tashaki Miyaki (@)
Title: The Dream
Format: CD
Label: Metropolis (@)
Rated: *****
I'm not a great fan of that mixture of shoegazing and dream pop that someone named dreamgaze, to be honest, but there are some amazing details in the style of Los Angeles-based singer and musician Tashaki Miyaki that manage to boost the canons of the genre. Those canons are still there: the plain popsicle of quickly sliding pop rhythmical patterns, a set of dual guitars, one sustaining the chords of the other, a lollipop of schmaltzy melodies, a lulling pace that sometimes brushes against the backcombed style of 50ies American female singers or 60ies Americana country-folk ones. Some songs are the ones that you could expect coming after giving a kick against an old jukebox, but the way her dream (to reprise the aptly forged title) melts various elements by means of some slight distortion on the guitar, the guessed effects of her candied vocals that adds some shirring on a stream, sounding so fluid that her dream could become yours, some unexpected hiccoughs of the sound (such the distorted lead guitars on songs like "City" or "Get It Right") and the strange beauty of their fusion with the angelic serendipity evoked by Taskaki's voice could let you surmise that that juke-box fallen down the sky after getting kicked by a furious angel. Such a description could have been influenced by the catchy intro and outro of L.A.P.D., where the makers of this selection of Ms Miyaki's more or less recent outputs injected something lysergic that could vaguely resemble the ephedrine atmosphere of Amorphous Androgynous's "Slo-Mo" in a more orchestral sauce.

Jonas Kesper Jensen: Layers Of Bridges

 Posted by Stuart Bruce (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Apr 12 2017
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Artist: Jonas Kesper Jensen
Title: Layers Of Bridges
Format: Download Only (MP3 + Lossless)
Label: Clang
“Layers Of Bridges” is a set of barren computer-generated sonic landscapes. It’s a relatively established arrangement of digital hums and unnaturally long reverbs, counter-playing tones and wave synthesis. While the track names have an architectural theme, sonically this is open, near-empty space.

Each of the seven tracks is exactly 5:30, and most fade in and out, as though each environment is infinite but 330 seconds is the permitted visiting time. Each environment is relatively static- there’s a faint degree of evolution within pieces like “Thru Arch” but for the most part it’s eventless.

“Stay Girder” opens with a repeating piano note that suggests the arrival of new structure, but the reverb and layering soon degenerates the note into a sonic bath that fits the rest of the pieces; imagine “I Am Sitting In A Room” based on a single piano note rather than the spoken word.

The exception to this format is the fifth track “Culvert”, which is a discordant and unsettling loop of electronics with a tense throbbing bass tone. Were it not for this track, and perhaps the distant drilling sound of “Channel Beam”, this release would be going on my ‘music to sleep to’ playlists, but this track is an anachronistic wake-up call.

As a complete work it does fall a little short of distinctive flavour or character but as a surprisingly soporific collection of rigidly prescribed hum soundscapes, it mostly works very well.

Philippe Lauzier: A Pond In My Living Room

 Posted by Stuart Bruce (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
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Apr 07 2017
cover
Artist: Philippe Lauzier
Title: A Pond In My Living Room
Format: CD & Vinyl
Label: Sofa
“A Pond In My Living Room” is constructed predominantly from multitracked bass clarinet recordings, layered and processed into steady beatless hypnotic ambiences. Sparing use of other noises- which may in fact be clarinet-sourced but are so processed it’s hard to tell- add a little sprinkle over what is otherwise a very pure and sincere expression of resonance.

I’m a sucker for a lovely clarinet, and while the sustains and thick reverberations here pull the tones far away from the traditional instrument’s sound, that rich timbre is still present. The hollowness of the production is a little alienating, and the resonant frequency responses are a touch metallic, making the overall feel of the album surprisingly inorganic.

The differences between the tracks are subtle and well segued. The first two track have distinct and different pitches of tone that sound not unlike tubular bells. Third track “On The Window Side” has a higher, more flute-like quality and adds a steady slow plucked light bass note, and occasional sounds like processed and distorted tap noises which increase the sense of homemade domestication compared to the other pieces. The final track has a more ebbing and fragile tone, almost like pitched wineglass playing.

Twisting bass clarinet sounds into melodious drones and super-slow looped chord patterns may not be an innovative concept in itself, but the straightforward approach and pure quality of this release make it a big success.


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