Halftribe is the solo project of Ryan Bissett, an ambient/electronic music producer and DJ, born in Northern Ireland, residing in Manchester, UK. Since 2014 he has been producing his sublime music having released four albums and four EPs on labels such as Archives, Dronarivm, Vent Sounds, Dewtone Recordings and Silk Sofa Music. ‘Archipelago,’ Halftribe’s fifth full-length album and first for Sound In Silence, features eleven new compositions with a total duration of something less than 45 minutes. Bissett creates one of his best albums to date, skillfully blending together airy synths, soothing pads, hazy drones, delicate chimes, processed vocal samples, lo-fi plucked guitars, overlapping tones, looped crackles and calm field recordings.
Of course, all that is label promo description, but it's not far off the mark. On "Exposed" the listener is treated to a low, slowly oscillating drone tone with an intermittent low counter-melody and occasional chittering. "We Are Dust" begins with a slightly funerary vibe (loop) that is subtly expanded upon with cello and other minor low key elements. On "Broken Beams" an intermittent tone is struck over a constant background drone, then up turns a little melody. "Drops" is comprised of fragmented melodies over a held pad drone tone with a little bit of staticky noise sprinkled on it for good measure. The title track is comprised mostly of washes of noise drone with vague melodic content. "Fader" sounds as if it really wants to be a real song with voice-like melodic loops and a repeating half-formed melody. The undercurrent of rhythm in "Two Teaspoons Of Wishful Thinking" is the main thing that keeps this track alive, and is one of the tracks with the most musicality on the album, often threatening to become more than the simple idea it actually is.
Things head into the realm of abstract downtempo on the brief "Breather," but the follow-up, "Rejected," pulls the music back into elongated ambient drone, and "Subliminal" continues along this line, as well as "Imperfect," albeit with a little more melodicism. 'Archipelago' is an interesting work that sounds a bit like outtakes/demo ideas Eno never used for his Music For Films/ASmbient Series recordings, but that's not a bad thing at all. Once again, this is a limited edition of 200 handmade and hand-numbered collectible copies.
Endless Melancholy is the self-descriptive music act of Oleksiy Sakevych, based in Kyiv, Ukraine. Since 2011 he has released six albums, a remix album, a compilation and many singles and EPs on various small labels. He has worked on collaboration/split releases with artists such as Desolate Horizons, Lights Dim and Hotel Neon, is also member of the post-rock band Sleeping Bear and has released music under the aliases of Moonshine Blues and bc_ranger.
'A Perception Of Everything' is the seventh full-length album by Endless Melancholy and his first for Sound In Silence. Inspired by traveling and visiting new places. it is made of field recordings made using a microcassette tape recorder, tape loops and synth pads. The music is ultra-ambient with a musicality that works hand-in-glove with elongated synth pads and drones; little light melodic touches that enhance a superbly relaxing environment. One track blends seamlessly into another on this 9-track album for about 40 minutes. True to the project's name, there is a wistful melancholy about some of the pieces ("Immersion" in particular comes to mind), and perhaps a sadness brought about by the current state of isolation, as well as a longing for people, places and events you have experienced before. Yet there is a certain amount of comfort in it, as if being wrapped in a quilty cocoon. Although darkness threatens on the edge, 'A Perception of Everything' provides a safe space in which to just chill and be. Subconsciously, some of the field recordings employed by Sakevych will undoubtedly stir memories in most listeners that are sure to bring about an emotional response. I think this album may hold a different meaning for every listener. It is an extraordinary ambient work that will be an asset to any collection in the genre.
This is a limited edition of 200 handmade and hand-numbered collectible copies. It is packaged in a lovely hand-stamped ivory cardboard envelope with the front cover image printed on a polaroid style photo paper and an insert sheet containing tracklist and information printed on azure cardboard. It also comes bundled with a download code coupon and a Sound In Silence card.
Like many releases at the moment, “Music For Violin Alone” is a work prompted by lockdown, and dare I say inspired by lockdown. Orazbayeva’s fourth solo album contains performances of works from six different composers, ranging from J.S. Bach through John Cage to Angharad Davies. It’s then topped off by one of Orazbayeva’s original compositions, seven pieces in all.
The album is bookended by some decidedly avantgarde work. “Circular Bowing Study” (Davies) sets a tone, a rhythmic scratching that rises and falls in waves, a divisive piece that will mesmerise some and be like nails down a blackboard to others. At the other end, Orazbayeva’s own “Ring” is a dark arrangement of slow breathy string drags that’s strangely compelling but which does feel somewhat like horror movie sound design.
Between those poles is a slightly more conventional collection- most obviously “Largo from Sonata no. 3 in C major” (J.S.Bach), a beautifully recorded and expressive meandering solo which flows beautifully into the energetic and optimistic “Alla Fantasia” (Matteis Jr.). The second half is a tad more experimental- “Koan” (Tenney) is the longest piece, and feels it thanks to its relentless bowing and alarm-like steady pitch rise that begins to feel like a Shepard tone as it gets under your skin. It makes the sparseness of “Eight Whiskus” (Cage) feel like relief.
“Blurry Wake Song” (Leith) is double-tracked, layering up (I think) two takes into a duet with some unexpected tonal changes, but most of the rest of the recording is single-layered and it’s a testament to the playing and the recording quality that a single instrument can maintain your attention and keep things interesting for forty minutes.
It’s another introspective but fascinating work from the lockdown period.
Schaukelstuhl translates as ‘rocking chair’ (hence the artwork) and there’s a mesmeric steady rhythm to this 6-track mini-album- though I’m not sure I’d call it ‘rocking’. It’s six slabs of steady electronica-house with an assured feel that gets more laid back quite rapidly, after an initially upbeat beginning, and once it gets fully horizontal, it stays there up to the point where the final track gets you up and dancing again.
While there are some analogue squelches and a grumbling vibe to it at times, it’s moved on quite far from the more aggressive electroclash-ish sounds of T.Raumschmiere albums of old. That familiar 12/8 groove can still be heard in tracks like the purposeful “Edith”, and aforementioned final track “Isidora” which has pure danceability at its core, but it is contrasted nicely by unashamedly chill out tracks like the soft and deep “Klaus”, and the positively balearic sunwashed vibes of “Bela”.
It’s premium quality stuff with a mood that feels very 2020, but it’s the tracks where the more familiar T.Raumschmiere attitude shines through that provide the best moments.
Gianluca Calliagaris, as Grotta Veterano, recorded this debut album during lockdown and, like a lot of other work being done under the same circumstances, it feels like a downbeat embodiment of the patience, space and unsettlement that many have been feeling.
It’s principally ambient and soft drone, and wanders through a variety of soundscape set-ups, some quite familiar-sounding. Even in the title track alone, we journey from completely ambient, through a lovely two-chord repeating key pattern that feels soporific and warming before getting gently looser and more jazzy, before ending up with organ and bell-like tones and a more ‘empty church’ feel.
“Colliding Tones” has very little collision, again building from emptiness into tones that feel sparse and hollow yet grandiose. “Dawn At Prvi” brings more sorrowful piano chords that flow almost unnoticed into “Morning Tom”, the electronic underbelly of which is arguably more interesting than the melodic core. It’s final piece “Roseneck”, with its bubbling and heartbeat sounds, click rhythm and oddly backwards feel, that provides the most unexpected set-up of the pack.
Overall it’s a beautiful album, without feeling very original. A well executed layering of soft tones gives a rich sonic fabric that doesn’t dazzle or sparkle, but which provides a very comfortable listen with just a hint of lockdown catharsis.