Larme Secrete marks the first collaboration between the veteran duo of Marc Hurtado and Pascal Comelade (whose toy instrument work I’ve encountered before). Sometimes new pairings can feel instantly assured, as though they’ve been collaborating for years, while sometimes the artists can end up playing it safe and being friendly, which can result in less experimental or less energetic output. With this album, it feels like a bit of both has happened. Comelade takes on the instrumental duties, with Hurtado out front on vocals and ‘sounds’, and a handful of extra musicians drafted in for guitar and drum work. The result is somewhere on the soppier, more lazy-afternoon side of avantgarde rock.
“Eclair” has a singular groove and vitality reminiscent of old Silver Apples tracks, and as an opener, indicates a shared understanding and sets out the album’s stall with good effect. Much successful play is made of the contrast between the steady energy of Comelade’s music and the slow, abstract (and at times frankly old-sounding) lyrics from Hurtado. The swaggering organ of “Eté” plays nicely against Hurtado’s breath-heavy vocalisations.
However some tracks, like the long but not mesmerising “Infini”, feel overly easy and unchallenging, with Hurtado’s spaced-out poetry echoing at length over a repetitive light rock groove that doesn’t quite manage to carry you along with it. “Or” stretches the aforementioned contrast in energy levels to its logical limit, so that when followed by similar-sounding “Cri”, it starts feeling a little bit ‘done’. Strongest among the downtempo pieces is “Spirale”, where the moody atmospherics and storytelling fit together just right.
It’s a rewarding collaboration, certainly a little on the safe side but wonderfully moody.
Although “The War Wolf” EP is named and artworked as being ready for battle, sonically it feels more ready to party. While the circa 100bpm stepping beat does have a slight marching vibe, the squelchy acid bass, bright plucky synths, and the use of that old famous fluttering panpipe sample (which works better here than it ought to on paper), all have too much of a feelgood vibe about them on the title track to make it feel really fighty.
Second track “Acid Drive” does have a slightly more warrior feel, thanks to its 120bpm-ish tempo and distorted squelchy acid line, but it’s tempered again by bright keys and a spectacularly old-skool ravey breakdown that feels like it’s been sampled straight out of the best bits of 1992.
Timothy Clerkin’s remix- or rather his “remix reprise”- of Night Giant’s “Bleak House” is a bonus inclusion that’s treated like a bolt on, but which the EP may could’ve led with, as it has an epic unfolding opening that leads into an almost Jarre-ish (but on the simpler side) melody line. This would’ve been a heroic album opener.
Not nearly as violent as it may appear, this short EP (that’s barely an “extended play” at all, you might argue) is quality thinking-person’s-dancing-music, baked at a home-listening temperature and with a lot of endearing old school ingredients that will appeal to people of a certain age, myself included.
After originally meeting in unusual circumstances- teenage Hoogland attending a gig with Zea performing one evening, then attending school to find Zea was his new sociology teacher- the duo have since been collaborating for some time, combining Zea’s guitar and voice with Hoogland’s piano, electric clavichord, “synths and sirens”. Summing is a nine-pack of short experimental-rock-alt-pop pieces that sounds like the duo are still challenging one another, rather than settling and getting comfortable.
There’s something of a 60’s or 70’s wig out feel at times, including sonically- sometimes relatively static, at other times not. The title track’s chaotic final minute, that segues gently into the brooding “You’re Dead”, is a strong example of that. Some tracks, including again the title track, have various production details that qualities that demonstrate the 2019 nature of the recording, but at times the only detail that indicates that the tracks are modern, rather than unearthed from the annals of prog rock, are lyrics such as “We Lost Our Phone” (which is not as flippant as the title suggests) and the talk of track-and-trace delivery in curiously passive-aggressive “I Never Threw A Stone”.
More introspective moments come in tracks like the surprisingly moving “Atomic Heart”, which if it had been released in a more acoustic form by a pop-singer-songwriter, might be getting lauded as a beautiful pop song. Final track “Trip the Light Fantastic” is notable for its jazzier, more laidback feel as well.
At only 32 minutes it’s a compact album that buzzes with ideas and moods. The duo work together with other musicians on other releases too, and it feels like that’s probably necessary in order to drive the inventiveness further. But this level of expressiveness from a duo is rare and heartfelt.
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.