"One" is the instrumental project of California artists Doug Erickson and Don Falcone. Consisting of ambient textures with guitar soloing, one can find hints of industrial music with a canopy of loop based samples and self described avant garde approaches. While not always prevalent, their influences are Eno and Fripp, Robert Rich, Bass Communion and Tangerine Dream. Fans of guitar-leaning ambient and tribal experimental music may find this an interesting listen.

What I immediately appreciate about this album is the carefully constructed experience arranged for the listener. The modest or veiled cover of the disc tells us very little about what type of music is contained therein (at a glance it reads more like chemistry than it does music release), but I was pleasantly surprised to find a 30+ page booklet filled not with excessive writing, prose, or details about how to understand the music, but with photographs that suggest numerous aquatic environments that might enhance the listener’s perspective while spinning. This is a nice touch considering that music is not limited to just an auditory experience.

Bass Communion’s Theo Travis and Steven Wilson showcase two contrasting soundworlds, called Pacific Codex 1 and 2. Of behind-the-scenes crediting for the album is Steve Hubback, whose metal sculptures provide the source material for the disc. How BC go about creating the textures is not specified, which makes each listen of the Codexes more compelling.
Perhaps it’s a power of suggestion in the booklet but the unfolding of the symbiotic relationship between metal, air, and water is a constant through the course of the album. Careful attention is given to the interaction of the electronics with Hubback’s instruments -the illuminating of partials, complete control of fluctuating densities, large sound masses adjacent to immersive microsounds, and an overall volume-centric approach to form. The color of the music drifts between dark greys and whites to the furthest ends of the color spectrum in other moments. The performances themselves are decidedly organic, which gives a solid foundation for the electronic manipulations. In closing, I am also impressed with the cohesion of the disc, as the overall experience leaves the listener feeling whole, as though the high tide has just receded after a pensive day.

Pacific Codex is a fine project that will provide hours of return listens, be they focused or environmental. Inside the case one will find a standard cd of the album, as well as a DVD containing surround mixes, additional photography and credits for the release. Cheers to Bass Communion for going the extra few miles at the service of the musical experience for the listener. Highly recommended album, particularly the physical release.

Anyone into drones should be familiar with Liles' increasingly recognized production by now, as both his solo works and the collaborations with the likes of Tony Wakeford (Sol Invictus), Nurse With Wound, Darren Tate, The Hafler Trio, Wander, etc. are remarkable. While rightly issued under his own name (also given the coherence of the whole set), this cd features "Andrew Liles as played by" an all star cast, probably gathering the best of the current drone/ambient circuit: Paul Bradley, Colin Potter, Aaron Moore (of VolcanoThe Bear), Jonathan Coleclough, Ruse, Band of Pain, Bass Communion, Aranos, Darren Tate, Irr. App. (Ext.), The Hafler Trio, Unsong, vidna Obmana, Nurse With Wound and Freiband. Given the quality of the starting material, and the visionaries and loonies involved, how could this disappoint? As expected, no track is less than well done, and everyone can easily pick his favourites (mine were Bradley, Bass Communion, Irr. App. (Ext.) and Nurse With Wound). Most of all, it's a collection which faithfully portrays Liles' sound art, both in its expanded drones and in its surrealistic collages. And by the way, the inner layout, with everything from Willy Wonka to S/M drawings passing through AC/DC, surely speaks more than a hundred reviews.

The Drone Works series has already reached its tenth volume with irr. app. (ext.), but the sixth one, by Bass Communion, was immediately withdrawn from sale, so here comes a much welcome replacement by label owner Bradley. The ep is pretty much in the style of the recent, and brilliant, "Liquid Sunset" cd: deep, warm organ-like drones slowly unfolding and wavering. Changes and new layers are introduced at a glacial pace, but surely contribute to the emotional climax of the piece. Not much to add - if you've read my previous releases you surely know my penchant for Bradley's work, and this is no exception.

This disc consists of three tracks, each about 20 minutes each. Nice oversize packaging with three art inserts about the size of a postcard. The artwork was done by Lasse Hoile and is reminiscent of Ben Didier’s work for Ad Noiseam. Reminds me of Amplexus releases in their glory days. I have some of Vidna Obmana’s work, although I was unfamiliar with Bass Communion (he also records under the name Porcupine Tree, which I do have and that project is nowhere near as good as this disc).

On to the music. If you are expecting something more new age like Vidna Obmana's River of Appearance, you’ll be disappointed. The first track starts off a bit more dissonant, although no so much as with Obmana’s collaboration with Asmus Tietchens, employing long drones that shift subtly. However, about halfway through it shifts to a more minimalist stance, becoming more and more minimalist as the track nears the ending, to the point where I had to check the player to see if it was still playing. Track 2 starts off as quietly as the last track left off. This track takes on a darker tone, reminiscent of Lustmord, only not quite so sparse. (Doesn’t everything in the dark ambient realm get compared to Lustmord eventually?) This track also shifts about halfway through into lush drone with a bit less dissonance than the previous track. I like the complexity of this track. There is a lot happening under the surface that keeps it interesting. As expected, Track 3 also starts off quietly, building up to soft drones. This track has a slightly noisier undercurrent, but by no means is this harsh. Once again, at the halfway point it gets a bit more interesting with some bass synth kicking in to provide some melody at which point the noisy undercurrent becomes a bit more demanding. Track 3 is by far the high point of this disc. I really wish that the whole disc was like the last 10 minutes! Outstanding.

Overall, this is a decent disc, but I found myself wanting more from the music. It was almost too subtle. After 40 minutes, I found myself wanting to change discs, not because it was bad, but because it was no longer engaging. Luckily, it got better halfway through track 3. Even so, according to Soleilmoon this CD is limited to 1000 copies and already sold out and out of print. You can still get it on Itunes, but then you are missing out on the exquisite packaging.