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.
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.
The sheer weight of feeling behind a cause doesn’t prove that cause’s validity or importance- but it must surely be a massive indicator. It speaks volumes that JMY set out to do a benefit compilation raising funds for Black Lives Matter, the NAACP Legal Defense Fund and the Greater Chicago Food Depository, and received over 100 tracks from over 80 different contributors. That’s eleven and a half hours of music. And while the sheer scale of a compilation album doesn’t equate to its quality, I’d certainly call it value for money!
The quality is excellent. I can’t feasibly comment on every track, but to generalise massively, there’s plenty more reasons to buy this compilation than just the charity aspect.
The arrangement of tracks is such that listening to the first few tracks is quite misleading. This opening hour or so is a collection of works from the thoughtful and introspective side of electronica, but with lashings of acoustic elements, found sound and sound design and atmospheric work. There are huge doses of ambient, some drones, including Silber-ish guitar drones, some more cinematic pieces, and plenty of sombre moods and environmental pieces.
However this is not the full story, by any means, and after this point, a lot of musical diversity arrives. TV POW’s “Cadillac A” and Precise’s “It’s On Me” are on-point rap track (the former with a nice line in American culture samples), while Tina M Howell and Just Nick offer up a soul-meets-trip-hop affair in “Donna And Tina”. Gel Set’s “Headless Statue #3” is an intriguing bit of semi-retro synthpop with a nice hook to it. Extraordinary Popular Delusions’ “Contention” is a straight-up slab of avantgarde jazz, Jeb Bishop Trio’s “Fifth Gear” is a smooth cruising jazz (the latter a part of a jazz zone that the album enters around two-thirds of the way through), and Azita’s “Something That Happened” is a straight-laced reggae groove with dub elements- until the point where it isn’t (spoilers!).
The diversity plays out piece by piece, and throws up some assured surprises. But the compilation does keep returning to the electronic world periodically, making it its home turf and leading to some interesting contrasts- none more than the roll from Spanish-sounding guitar ballad into Zoot Houston’s sine-wave symphony “xrstlyedit.mp3”.
Many of the tracks have a political connection to the cause in hand, like the protest crowd sampling “BLM about the Permawave 2020” from GK Jupitter-Larsen which covers a self-contained distance from found sound through to a wall of distorted noise- and at the other end of the spectrum, Simon Joyner’s acoustic folk ballad “There Will Be A Time #2”. Few are more unsettling than the long drone, sirens and riot noises pulling against solo choral and ballad singing in Jesse Goin’s somewhat Jimmy Cauty-esque “Is There A Balm In Gilead”, while some take topical sounds but process them into more abstract soundscapes, like Fred Lonberg-Holm’s “Slow Riot” or the sinister but not gruesome “Smoldering Corpse Outside The Embassy” from Our Wrongs.
The compilation does return to its gentler more atmospheric and ambient roots at later points as well, with Doline Karst’s haunting “Incolae” and Pharmakustik’s “Freight” some of the finer examples, and some more interlude-like pieces like Mykel Boyd’s “60 Miles South of Chicago”. There are plenty of immersive soundscapes here as well, many of which top the ten minute mark on their own (and some nearer half an hour!). Some are on the unsettling side, like the dizzying “Untitled 200613” from J. Soliday, or Al Margolis’ “QueBec” with its utterly unexpected accordion halfway. The selection of alien environments on offer ranges from the straight-laced, like Kazuya Ishigami’s “Lemurian Memory”, and the dark and grunge, like Gabie Strong’s “Sous Les Pavés”, to more unusual offerings like Stephan Comford’s presumably lock-down inspired “A Finite Number Of Rooms”. Others like the excellent “Carrier v1.40” from remst8 + Drekka or Rugar Magnusson’s “Gull” are more accessible and warm drone works. Towards the end of the compilation there’s a greater prevalence for sparse, isolated solo tracks, like Jeff Kimmel’s extremely plaintive “Solo At ESS”, as well as some extended noisier abstract works like K2’s “Flat Horizon Is So Black”.
Although this is a political hot topic at the moment, there’s surprisingly little here that feels rushed or overly raw. It is curious to think that if the dates are correct, I’m reviewing tracks like Jeb Bishop’s dizzying “mISTAKES v170620” less than two weeks after they were finished, but it still doesn’t feel underbaked Some tracks feel like an opportunity to try something unique that might not fit into the rest of their work- while I’m not familiar with Mike Bullock’s work, his chaotic string and processing piece “Tread” feels like a good example of that scenario working well. There’s the odd short sketch, like Nick Hoffman’s one-minute guitar piece “Sufferir So Disposto”, but the calm maturity in tracks like Neil Jendon’s “Sulu Bleeding Heart” rather suggests that the current lockdown situation has given many musicians a bit more time to work on these tracks than they might’ve had otherwise...
Other miscellaneous highlight tracks include Jim Becker’s pulsing electronics and fragile melody of “Jajouk 2213”, and the bright but twisty electronic drone-fanfare of Boris Hauf’s captivating “Exspiro”. Pandabrand’s “Listen” is from the very quirkiest edge of pop, and the raw electronic techno of Danfan’s “Contratiempo” or Frank Rosaly’s “Fool” both leap out at you, as does the sharp one-minute guitar-techno “Grass Dance” from Kendraplex. For the introspective side, Sigtryggur Berg Sigmarsson’s yoik-like multitracked vocal “Turning Down The Volume Inside Your Head” must be mentioned.
For eyebrow-raising weirdness, a number of special mentions should go to No Motive’s “Untitled”, Pavlos Vakalos and Nicolas Malevitsis’s bold stop-start sample-metal “Cry”, the energetic cut-up monkey vocalisations of Karen Constance and Blue Spectrum’s “Medication Bathing Wine”, the mental-health-concerning twisted vocalisations of Leif Elggren’s “Soya” or the noise wall of Crank Sturgeon’s “Standstill Until”. Ernst Karel’s “Cassette Field Recordings, Thailand 1993” tells an interesting but sparse story of forgotten television broadcasts, while Weasel Walter, Brandon Lopez and Michael Foster offer a track called “Current Events” which is a difficult wall of distortion, angst and percussive noise- which is very fair, because that’s what current events do feel like.
Eleven and a half hours is a marathon listen, for sure- but considering the minimum price is only $7, it’s insane value, and even if you can only relate to half the tracks on here, it’s still a fantastic find. Plus it’s a charity record for a solid cause too- leaving you with pretty much no reason left not to buy it.
Tijuana-based Benfika’s return on the Infinite Machine label with 19-minute EP “Ruinas” takes things in an unexpectedly calm direction, for the most part. For a label I’ve begun to associate with darker, heavier high-quality electronica, this is a breath of much calmer air. It’s described as being more spiritual- I might just describe it as being more settled.
Opening track “Exodexo” sets things up with gentle balearic pads and mood, and just a few shades of sharper electronic touches grumbling away underneath. “Pentimento” is a bright, synth-driven, oddly-signatured bit of musical virtuosity that, thanks in particular to its vocal sounds running alongside the melody pattern, dare I say it sounds a little MIke Oldfield-ish at times- but again, with enough occasional gutpunching subbass and dynamic effects to prevent electronica fans from feeling mis-sold.
“Mundo Schizo” is more upbeat and perky, taking the slightly synthwave melodies and giving them a firmer rhythm, but it’s shortlived- and “Rios de Azoth” is a curious under-two-minute melodic sketch of treated keyboard and effects that hint at a more experimental side.
Final piece “Ollin” is the longest and most ambitious, and feels like it’s melting together some of the best qualities of electronica with a smattering of soundtrack ambience and some synth interpretations of sounds that feel stereotypically South American jungle-ish, but not in a bad way. The way the melodic elements cascade apart at the end is a very pretty way to end too.
It isn’t what I expected, but to be honest, it’s far more interesting than that.
The Erlöser EP is the latest release from Austria’s Flamongo, a solo project from visual artist (under the name Irrwisch) and musician Alexander Trinkl. Erlöser means “saviour” or “messiah”; in this case salvation takes the form of noisy and hypnotic electronic textures.
The EP clocks in at just 18 minutes and is available in physical format as a 12-inch vinyl record with one side containing the music and the other an individually hand-painted design. Trinkl also takes a painter’s approach to the music itself, with each of the five pieces having been constructed as a kind of soundscape as opposed to anything that could be called a “song” in the traditional sense. However, the tracks themselves are perhaps surprisingly easy to latch onto. There is terrifying distortion, dizzying atmospheric synth textures, and punishing industrial beats, but there is also an attention to form, dynamics, and sometimes even melody that lends the EP and the works within a satisfyingly structured musicality.
The music was composed using an improvisational stream-of-consciousness approach, and we follow the journey from “Einführung” (“Introduction”) to “Ausführung” (“Execution”) as Trinkl leads us through an exploration of various different feelings. There is tranquility and there is chaos; there is rhythm and there is ambience; there is electronica and there is industrial noise rock.
My only criticism would be that some of the more “natural” synthesised instruments, such as the drums in particular, could do having a little more attention paid to processing and mixing in order to sit a little more comfortably in the mix with the harsh and spacey synths. Having said that, “comfortably” is probably not how Trinkl would imagine the listener to be sitting whilst listening to this mind-bending work of experimentalism.
Unpredictability, experimentalism and cross-disciplinary approaches have always been cornerstones of genuinely exciting and intriguing art, and Flamongo’s Erlöser takes its place as a new exploration in this spirit. I for one will be waiting eagerly to see and hear what Flamongo’s next music / visual art crossover project will be and what new directions he decides to push this project in.
Erlöser is available for digital download or to pre-order on special hand-painted vinyl (to be shipped as of July 2020) from Flamongo’s Bandcamp page.