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------
Visions - Lapse |
| STYLE |
|
Solemn, thick, dark ambient
- beatless and abyssal. From the low groaning opening bars
the pattern is established for Lapse - dolorous drones and
scraping, writhing overtones build into ponderous melodic
patterns and pensive atmospheres. Some tracks are softer
than others welling up into a bewildering obscurity that
threatens to engulf the listener in cloudy folds and curves
of tone. At times dense layers of sound roll in repeatedly
like waves accompanied by atonal sweeps and strains on the
upper register or shrouds of lower sound rumbling, shuffling.
|
| |
| MOOD |
|
The
mood initially appears bleak and grey - like churning mists
at night, somewhat unsettling and portentous. Deeper listening
reveals further depth and colour - suggesting abstract, spacey
imagery drawing the minds eye outward toward ever-evolving
visions of distant nebulae and immense starscapes. |
| |
| ARTWORK |
|
The
vertically opening gatefold artwork is sharp and classy, no
plastic, rather a simple high quality card wallet. Front cover
imagery shows a menacing, smouldering dark volcanic star hovering
close over the surface of a grey/blue planet. Sweeping fiery
emissions flung from the core of the former are matched by
bright turquoise evaporation rising from the lower body. A
starscape bright with blood red nebulae fills the rear cover
with the Cyclic Law logo and website details neatly at bottom
centre. Inside the gatefold is mainly black as is the CD itself
- a stark red arc and out-flung traces carrying the only colour.
Here we have the track list, credits and thanks. |
| |
| OVERALL |
|
Visions
is basically Frédéric Arbour owner of Cyclic
Law. This is the debut album under the project name; built
around intense multi-layered drones of unrecognisable origin,
no bright synths here or cheap keyboard presets. Lapse is
relatively melodic for an ambient album and although it
could be used as mood music to set a suitably shadowy climate,
this is an album that will be most rewarding given some
attention. The gatefold edition of Lapse is a limited edition
of only 1000 copies. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Lapse will suit fans of melodic dark ambient - someone looking
for a strong shadow and heavy mood. Find it here - Cyclic
Law. |
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|
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vidnaObmana - Noise/Drone Anthology 1984-1989 |
| STYLE |
|
Harsh tones,
experimental ambience and dark atmospheres. vidnaObmana
chooses to open this latest collection with an aggressive
assault of rhythmic noise, multi-layered and dense with
distortion. The following pieces range from piercing and
gritty, mechanical looping structures to fluxing, evolving
drones - often overlaid with atonal strains, darkly attractive
and mysterious. Mangled voices gargle deep within the mix
or skitter across the surface as damaged transmissions.
Unidentifiable sources combine with electronic weirdness
and twisted textures that sometimes attack with artistic
shock tactics or entice with seductive shadowy grace. This
appropriately named Noise/Drone Anthology is bold and uncompromising
showing further roots from the luxurious growth that has
become vidnaObmana - hinting at the maturity that produced
the Dante Trilogy. |
| |
| MOOD |
|
Grey
and industrial like the cover imagery. This collection smoothly
flows from grim and acerbic to languid and indolent - yet
even in these low-key passages, still suggestive of coiled
strength as if threatening to snap plastic muscles into action.
Haunting, desolate tracks maintain a mechanistic undertone
as if under the shadow of some ominous factory, meditative
moments are brooding, unsettled often with an accompanying
sense of a vast scale. |
| |
| ARTWORK |
|
Imagery
throughout centres on the twisted beauty of derelicts - broken
windows, glass cracks, concrete and girders all in shades
of grey. The front cover forms a single image with the other
half of the inner booklet allowing distorted text and indistinct
edges to intermingle freely. A clear track list appears on
the rear of the jewel case with an extended version inside
the booklet - here track origins are presented with dates
and cassette sources. |
| |
| OVERALL |
|
Noise/Drone
Anthology dredges up vidnaObmana's underground compositions
from the mid to late 1980s when cassette releases and indeed
cassette masters were the order of the day. These have all
been carefully remastered with a lot of effort put into establishing
a high quality product that faithfully maintains those early
sounds. The press release tells us to "expect a provoking
combination of early drone and atmospheric pieces with sonic
assaults of noise and vocal experiments". Track titles
Proto Anguish, Cry Of Despair, In The Mouth Of The Reptile,
Techno-toxic Embryo set the tone. There are a few collaborative
pieces with PBK, Kapotte Muziek and Big City Orchestra. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Nostalgia
hunters with a taste for industrial ambience, fans of vidnaObmana
wanting to know a bit more about how it all began. If you
enjoyed the approach taken on Anthology 1984-2004 then this
present collection will likely be right up your street. |
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|
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Pathaan (various) - Global Sunset |
| STYLE |
|
Well described on the cover
as "a sophisticated selection of exotic vibes and
balearic grooves from around the world". This lush
collection is more focussed than the eclectic follow-up
Universal Sunset - here we have a consistently downtempo
assemblage where the beats are restful and the instrumentation
chilled yet deeply colourful. Most tracks are vocal and
the voices are multilingual, as one would expect from
an album entitled Global Sunset. Flutes, bells, violins,
didgeridoos and guitars seamlessly blend with influences
from Africa, Brazil and the Middle-East to create a laid-back
extravaganza of ethnic lounge music.
|
| |
| MOOD |
|
From
Balearic to Bollywood the mood is leisurely and seductive
- danceable at a gentle pace. Both discs maintain the mood
of late night exotica that the global gatherer Pathaan has
become so adept at tracking down. Pathaan says - "I
have had the privilege of soundscaping the sun either setting
or rising in some of the world's most magical places"
.... Global Sunset is this soundscape concentrated and distilled.
|
| |
| ARTWORK |
|
A
bright orange sunset hangs in its final moments over a globe
- all bathed in evening hues - the card sleeve carries the
titles and a few enthusiastic quotes, whereas the jewel-case
cover simply presents the image free of text. Inner booklet
aside - the rest of the artwork is of a deep olive, textured
and rich. Track titles appear against this backdrop on the
rear sleeve and jewel case as well as inside. We get a few
words on each piece drawing attention to a relevant highlight
- further details and credits are found within the inner booklet.
|
| |
| OVERALL |
|
This
album follows in the footsteps of Pathaan's Stoned Asia
compilations and the first in the 'sunset' series - Indian
Sunset. This tight vision includes contributions from such
names as Massive Attack, Natascha Atlas, Transglobal Underground,
Nusrat Fateh Ali Khan and Leftfield as well as Pathaan's
own Orchestral World Groove with like-minded collaborator
Gaudi. The list of artists goes beyond the obvious with
many coming from beyond the usual borders of clubland and
peppered with a few rising stars - a truly global collection
of performers and writers.
|
| |
| WHO
WILL LIKE THIS ALBUM |
|
Global
Sunset is aimed at the world chill audience - ideal for end
of the day, end of the evening, end of the night atmosphere.
|
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|
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|
------
Frech - Frechbax |
| STYLE |
|
Pumping basses, transparent synths and
a range of esoteric effects - Frech's promotional material
describes the sound as a "minimal progressive style
with psychedelic influences". Moody openings and
flute like tones give way to bright beats and airy electronics
with deeply effected vocal bytes and a solid bottom end.
The tempo is generally a fairly pacey mid-dance beat with
mechanical, regular kicks and crisp snares and hats. The
synth voices are quite acidic on the whole thin and squirting,
but compared to the rhythmic elements, melodic and ambient
features are relatively lazy and drifting in nature.
|
| |
| MOOD |
|
Dark
atmospheres and shady moods combine with upbeat percussion
and driving loops to create an overall mood of simple clean
psychedelia. The clarity of the mix suggests contemporary
technoscapes or cyberdreams. The emphasis on Frechbax is primarily
on the beats - repeating, cycling, thudding deep enough to
feel. |
| |
| ARTWORK |
|
The
artwork is similarly clean and light - a computer-generated
life form of curling copper tendrils supports a spiralling
brainlike growth in contrasting sky-blue. This structure is
repeated in variant forms throughout the package - on the
rear of the booklet closed tight, behind the CD in close-up,
inside the inner booklet wide open and spewing its contents
skyward. Apart from this artificial creature everything else
is a flat white. Text, a functional turquoise, provides credits,
contact details and track information. |
| |
| OVERALL |
|
Frechbax
is Sebastian Auer who, I understand, has been DJ'ing and
performing live in Germany for some years. This debut album
is released on Ajana Records, a sub-label of Trishula Records.
Apparently the voice samples on track nine Suendenbock are
of Klaus Kinski speaking in German. Overall a trancey, acidic
collection of uncomplicated electronica. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Fans
of psychedelia in favour of airy, understatement and minimal
melody. Frechbax will be appreciated by downtempo fans who
prefer beats at the upper limit of the genre. |
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|
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------
Various - Chillounge (Intentcity) |
| STYLE |
|
Sultry collection of chilled
electronica with restful lounge beats and plenty of twinkly
vibes, light electric pianos, sax and wah wah guitars.
Most tracks feature suitably dreamy female vocals in different
languages - there are just a few male backing voices -
much of the lyrical content romantic and enticing. There
are hints of Latin influence in the percussive layers
and some unobtrusive ethnic sounds on a few tracks notably
from Govinda, Ikarus and Jasmon - these, however, don't
shift the focus away from the late-night soulfulness pervading
the collection. Only a small number of pieces are really
instrumental, most are truly songs - although presented
in such a manner that the singing doesn't dominate the
trippy instrumentation or overshadow the lazy grooves.
|
| |
| MOOD |
|
Chillounge
has a warm summertime feel to it - conjuring up images of
coffee/cocktail bars even without seeing the cover art. The
polished finish is silky and deep adding to the languid easiness
of the sound. There is a clear European flavour inhabiting
much of the disc stirred up by language or instrument. Chillounge
would work well as the backdrop to a lovers' night out - slinking
comfortably into the background, lively enough to maintain
attentiveness yet seductively soft enough to allow the attention
to rove elsewhere. |
| |
| ARTWORK |
|
Glossy
and rich in russets, red-browns and soft yellowy pools of
light. Chillounge comes in a three panel digipack with a candle-lit
lounge bar adorning the main face. Graphic discs in regular
arrangements thicken the imagery - some with inset photographs
of slinky figures or clear cocktails. A simple track list
is presented on the rear cover and again in expanded form
inside, this time with credits and source info.. |
| |
| OVERALL |
|
The
promotional information sent out by Intentcity talk of "downtempo
excursions ... with silky beats" describing the intent
of Chillounge as a journey into "chilled electronica,
nu-jazz rhythms and smooth sensual vocals". The artists
highlighted on the cover sticker are Lornalee, Govinda,
Hilton FM and Radiophonic - I guess these well encapsulate
the essence of the album. For me Al-Pha-X's aptly entitled
'Chilled & Lush Mix of 'Solar Ascension' with its ethereal
Hindi singing is a stand-out track, dreamy and floating
on clouds of sonic incense - so too Radiophonic's 'Last
Thing I Do', another blissful piece of insubstantial musical
mist with Maryann Leone's delightful feather soft vocals
lulling the listener into bright tranquillity. Mysteria
presents the track 'After The Rain' - hinting at what we
might expect from his full-length release due out in September.
|
| |
| WHO
WILL LIKE THIS ALBUM |
|
This
is an album that proclaims its purpose through its title,
artwork and sound - "late night beats and cool morning
sensations". Promotional materials suggest in-store play
as another avenue that would suit the content well. If you
heard anything of Intentcity's 'French Kiss' released earlier
this year - you'll have an idea of what to expect. |
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|
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Various - Left Coast Liquid Vol.1 (Native State) |
| STYLE |
|
Liquid clear downtempo electronica
alternating between lush melodic pieces and sparse, spacious
beat driven tracks. Atmospheric introductions build into intricate
arrangements around bright digital beats where the snares
and hats are crisp, the basses and kicks intestinal. Harmonic
developments are generally unhurried, with less cycling arpeggios
than some of the other current chill output - emphasis is
instead on development of ambient moods and engrossing percussion.
Shulman's colourful opener although rhythmic, is beatless
for much of its length, twinkling and constantly changing;
Bluetech's 'Leaving Winter Behind' has a classical elegance
with wistful piano and vivid synth work; Rena's 'Autumn' features
some beautiful cello playing - serene and absorbing over a
contrastingly fresh programmed groove. |
| |
| MOOD |
|
Cool
and oceanic with a very polished interface. Left Coast Liquid
Vol. 1 is certainly a downtempo album but it maintains an
energetic, emotive edge throughout its length. The clarity
of the mix and originality of the ambient effects alongside
graceful, nimble compositional structures create a mood
of contemporary elegance, delicate and flickering one moment
flowing and rich the next. |
| |
| ARTWORK |
|
An
organic psychedelic aesthetic permeates the packaging of Left
Coast - graphic spirals and sparkles overlay anemone fronds
and fragile ripples of water - all tinted pale blue against
an infinite blackness. The booklet is a three-panel foldout
that carries its lush imagery on the outside and all the text
on the inside. We have a full-page statement on 'Left Coast
Liquid Polyculture' and a poetic offering entitled 'Life Craft'.
The final panel contains track info with full credits and
website details. |
| |
| OVERALL |
|
This
compilation coming from Evan Bluetech's Native State Records
explores 'global ambient realms' through 'glitch dipped
melodies' and 'polysignature soundscapes' aimed at embodying
the warm and spacious elements of the West Coast. This is
certainly one of 2005's best collections in my opinion -
worth owning for Phutureprimitive's remix of Bluetech's
'Oleander' alone. This track reminds of all that I love
about Phutureprimitive's confident, sleek, prowling style.
Nevertheless, this whole CD flows nicely, maintaining the
high grade from start to finish. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Anyone
familiar with Bluetech's field of PsiDM and exotic chillout
will be surely be pleased with this album. If you enjoy
instrumental electronic music that focuses on atmosphere
whilst providing moving beats and cutting edge effects -
Left Coast Liquid Vol 1 must be worth a listen.
|
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