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|
 |
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------Achillea
- Amadas Esrellas |
| STYLE |
|
In keeping
with his 'enigmatic' roots Jens Gad opens this latest album
with a brief ambient introduction and a half whispered female
voice - this time, however, the voice remains - becoming
the central element in most of the tracks. Spanish singer
Luisa Fernandez speaks in low, reverberating, seductive
tones, sings with breathy romantic Spanish charm and indeed
soars with impressive power and emotion when required. Achillea's
rich, comfortable beats blending programmed sounds, hand
drumming and unique effects underpin smooth synthetic pads
and washes and Jen's distinctive guitar wizardry. The odd
shakuhachi and flute sample as well as Chinese er-hu snatches
and some familiar pitch shifted chants retain connection
with the musical heritage that Achillea proudly develops.
Alas del Aguila includes some delightful ethnic wind instrument
samples, cleverly juxtaposed against powerful choral voices
showcasing the more grandiose side of Achillea - sweeping
and dramatic.
|
| |
| ARTWORK |
|
A
semi-classical image of a female figure entangled in billowing
folds of dark drapery fronts the package - appearing again
inside and on the reverse in detail or close-up. Everything
has a russet/terracotta hue that lends that suggestion of
age or artefact status to the imagery. The back cover reminds
us that Achillea is aimed at lovers of Enigma music - although
following a separate path, this is an album that retains the
unique beauty of the genre. The sleeve unfolds into three
sections with information not only about Luisa and Jens' collaboration
here, but also on Sequoia Records own vision - a page being
given over to a section of the label's other releases. |
| |
| OVERALL |
|
Achillea
II or Amadas Estrellas is another strong release from Jens
Gad - following on the heels of Le Spa Sonique, Enigmatic
Obsession and, of course, Achillea I - The Nine Worlds.
Here the approach is one of consistency with previous albums
- new ground is not broken in terms of compositional methods,
however the new songs are beautifully crafted and surely
welcomed by anyone that loves this special style of music.
This time the chilled electronics are somewhat less ambient
and more beat driven than The Nine Worlds, gone are the
semi classical vocalisations of Helene Horlyck - instead
we have the rich, dulcet Latin love poems of Luisa Fernandez. |
| |
|
 |
|
------Ashtech
- Walkin' Target |
| STYLE |
|
Serious
urban dub electronica. Although nowhere near the genre of
the same name, Walkin' Target is primarily an album of drum
and bass - heavy, blunt basses, as deep as it gets, loll along
leading, dominating this series of shady arrangements, these
work in tight partnership with a live drum approach that benefits
from some deft, inventive programming. Melody lines are not
prominent on Walkin' Target appearing as underplayed, short
phrases or strongly effected motifs - more up front are a
powerful array of cutting edge, digital effects that consistently
enliven the upper tonal range, at times enveloping the whole
fabric of the music, processing the lot, breaking it down,
twisting the sound completely before dropping everything back
into renewed clarity. Most of the identifying sounds of the
dub reggae genre are employed - punctuating stabs of guitar
or keyboard, those distinctive rhythmic devices and echoing
hits, the strongly accented MC vocals proclaiming ghetto injustices
and, of course, that gut pounding fat bass. |
| |
| MOOD |
|
This
is a tightly structured album of inner city grit and twilight
grey - that said there is plenty of heart and feeling here,
an inner warmth permeating the tough exterior - some pieces
bounce along in an almost amiable rolling meter and there
are plenty of strong dance tracks that defy inaction. Walkin'
Target also has a sincerity about it - Ashtech hasn't just
adopted this style as an appealing flavour - the roots of
this album appear firmly dug into a real commitment to both
style and content. |
| |
|
| ARTWORK |
|
A
tasty package coming in digipack format - everything is in
appropriate shades of inner city grey. The front cover presents
a darkened multi-storey car park, deserted, pooled with artificial
light, busy graffiti crawling over the walls. The reverse
homes in on a concrete floor - track titles overlaid in white.
Opening out into three panels the inside is black - panel
one holding, in white font, credits and contact details -
panel two a low key chiaroscuro portrait of the artist emerging
dramatically from shadow - panel three simply holds the CD
on black plastic. The remaining flipside panel holds a generous
paragraph of thanks, a dedication and website details. |
| |
| OVERALL |
|
Following
on the heels of Interchill's Subsignals Volume 1 - this CD
delivers a credibility and authenticity that isn't always
present in electronic, downtempo dub. Ashtech himself began
his musical career as a dj and bass player - these origins
clearly shaping the foundations of his solo debut here. Ashtech
acknowledges a debt to prime collaborator Gaudi who shared
writing, playing, arranging and production duties. In addition
Leftfield's Cheshire Cat brings some impassioned roots reggae
vocal performances to the four non-instrumental tracks. Promotional
material explains that Walkin' Target is "an intersection
of original dub styles and urban electronica ... with an emphasis
on live sound manipulations and high-end engineering".
A strong album - if dub is your thing and you'd like something
to hit you hard and low, this is an album well worth exploring. |
| |
|
| WHO
WILL LIKE THIS ALBUM |
|
Walkin'
Target will likely cross boundaries in my opinion - Ashtech's
sinewy downtempo likely appealing to chillout lovers, dub
reggae fans and anyone up for a dance - this music has such
driving rhythms that it pretty much dances for you! |
| |
|
 |
|
------Monoceros
- Tales For Silent Nights |
| STYLE |
|
Soft ambient
pads, glitchy beats and light, clean electronica. Tales for
Silent Nights is an excellent series of atmospheric compositions
very well produced. Smooth, soft focus backdrops fluctuate
in loops, repeating patterns and shifting, filmy, gossamer
abstraction. These are overlaid with fractured beats built
up of clicks, ticks, blips, static and crackle with strong
kicks - although quite busy, these complex beats are wrapped
up in a downtempo laziness that is welcome and soothing. Melodies
range from dreamy and blissful such as on the appropriately
titled 'Warm', through elegant beauty to mechanical sharpness
and edgy shadow. The sound palette includes a number of guitar
based sounds such as the harmonic plucks that set the pace
for 'Background Birds' and a variety of echoing stabs and
almost sci-fi zaps, squishes and sonic flares. The occasional
harshness of the synthetic leads often resolves beguilingly
into an overall restfulness once all of the musical elements
are all in place and complementing one another. |
| |
| MOOD |
|
There
is a dignified warmth about this album like the glow of soft
artificial light against evening gloom. There is, however,
also the chill of the shadow behind the light - many of the
atmospheres presenting a slightly uneasy darkness lurking
beyond the more harmonious elements. At times the crisp electronic
percussives and bleeps develop a jagged edge, sparking like
live electricity, static crackling in the air. |
| |
| ARTWORK |
|
Tales
For Silent Nights comes in a tasteful digipack fronted by
one of the artist's own photographs - a night shot of a deserted
road, the verge illuminated by the headlights of an unseen
vehicle, pylons disappearing into a distant vanishing point
... but then the hazy red glow of a misty aurora is seen hanging
across the bright disc of the moon. This cover image runs
over onto about a quarter of the back panel - the rest is
flat black for the title list. Inside the package opens onto
more night black - CD on the left, text on the right ... brief
recording details, thanks and contact information. |
| |
| OVERALL |
|
Monoceros
is Spanish based musician Joan Malé who also owns
and runs the label Imaginary Nonexistent Records (INR) as
a vehicle for his creations. Tales For Silent Nights is
the second album under the Monoceros title but the prolific
Joan also produces music under the aliases Salad, .Exe and
Lumière, each project focussing on a different specific
style. This is a strong album of cutting edge digital electronica
in my opinion that has some delightful highlights and an
overall tastefulness that makes me want to like each track.
If you are familiar with the sounds of such labels as Expanding
Records or Static Caravan you'll have an idea of the sound
Monoceros works with - night time shades, artificial luminance,
organic-mechanic crispness and ambient warmth. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Monoceros
produces pure electronica for fans of lazy glitch filled ambient
beat music. This is well crafted, intelligent music in the
same overall field as Sabi, Sleepy Town Manufacture and Sutemos
material. |
| |
|
 |
|
------Tajmahal
- Star Circus |
| STYLE |
|
Highly
atmospheric downtempo trance excursions. Star Circus consists
of eight lengthy tracks that benefit from an enjoyably loose
structure ranging from almost ambient emptiness to thumping
regularity. The opener strays through various phases of deeply
chilled, moodiness - a female voice muses in a detached tone,
flute phrases breathe organic life and synthetic textures
shift and flux whilst beats roll in and out unpredictably.
This free approach to arrangement, avoiding any verse/chorus/verse
system is a joy to experience, allowing Tajmahal and collaborators
to tell musical stories with powerful narratives. There are
passages of arpeggiated notes and driving basses (more so
as the album progresses), world elements such as international
vocal samples, tabla grooves and flute wavs, and vocalisations
ranging from unearthly wails to controlled intellectualising.
The electronica is a good balance of programmed regularity
and performed individuality - very distinctive and varied. |
| |
| ARTWORK |
|
The
CD comes in a suitably dark digipack - an engraved disc of
dark gold dominating the front cover. On the rear is another
circular design - this time in outline - as a backdrop for
the track titles and bpm counts for each piece. The package
opens out into two sections - CD on the right and information
opposite. A beautifully captured daisy image with purple shadow
and overlaid ring patterns holds the centre of the left section
- a passionate piece of verse above and extensive thanks below. |
| |
| OVERALL |
|
Tajmahal
(aka Stephane Gallay) presents his first solo album on Taj's
own Electrik Dream Records and features arrangements from
the artist and a series of like minded acts. Chilled C'Quence,
Master Margherita, Morphonix, Phytosophie, Flooting Grooves
and Mungusid all contribute their individual talents to
different tracks in collaboration with Tajmahal resulting
in a coherent CD that has plenty of character and variety.
Promotional material explains "Tajmahal’s style
of composition shows his music as a bridge between trance
and downtempo rhythms. His key is to follow the path of
his feelings in the music he composes". This free approach
to composition allows tracks to unfurl into ambient, atmosphere
and amorphous space before looming into mesmerising rhythm,
taking unexpected twists and turns along the way. Production
is by Electrik Dream Records with mastering by Taj &
Huby Sea @ Ultimae.
|
| |
|
 |
|
------Bruno
Sanfilippo - Piano Textures |
| STYLE |
|
A suite
of eight haunting piano ambiences laden with lush sustain.
Piano Textures is built around the rich, uncluttered sound
of a solo Steinway lady grand piano supported by a variety
of strings, synths and the unique strains of the duduk.
Minimal melody lines unfold in unhurried patterns - delicate,
resonant - sometimes brief phrases repeating with variation
of intensity, structure, emphasis or perhaps with the supporting
sounds subtly altered. Sometimes the sonic air is thick
with reverberation, the piano accompanied by its own ripples,
low notes almost rumbling, eerie effects keening in the
distance. The processed notes seem to become increasingly
tuneful as the album progresses - yet never overly so -
always restrained. Sleeve notes explain that the compositions
are arranged in chronological order. |
| |
| MOOD |
|
Bruno
Sanfilippo plays with an elegant simplicity that is a true
delight to hear - restful arrangements that soothe, enchant
and absorb the listener. Many of the tracks have a melancholy
feel that is all the more doleful in such sparcity of expression.
This introspective sadness becomes almost tangible at times,
in some of the more melodic parts there is a beautiful aching
sensation. There is also a brooding, ethereal quality often
present - the atmosphere both powerfully intense and delicate
at the same time. |
| |
|
| ARTWORK |
|
The
front cover image initially hits the eye as a glowing abstraction
in orange/red - on closer inspection swirls of hair, fabric
and ambiguous colour present a variety of visual textures.
On the rear, another red texture image is montaged with a
faint window photograph - here is a simple track list with
associated timings. Inside the sleeve opens to reveal a muted
portrait of the artist positioned at ninety degrees to the
text that could almost be missed on first glance. Here we
find some explanatory notes, a dedication, credits and contact
details. |
| |
| OVERALL |
|
Piano
Textures is the latest in a growing list of powerful instrumental
releases from Bruno Sanfilippo - Sons of the light [1991],
The New Kingdom [1995], Solemnis [1998] Suite Patagonia [2000],
Visualia [2003], Indalo with Max Corbacho [2004], ad Libitum
[2004], Anthology 1991-2004 [2005], InTRO [2006], Piano Textures
[May 2007]. This album presents the sounds of the piano "sampled
by post musical instruments, with 10 recorded velocity layers
with 10 separate sustain pedal down layers and release triggered
samples". The results are truly amazing - lush, evocative
compositions that fill the minds eye with associative imagery.
The recordings were made at night and the tracks reflect this
nocturnal influence throughout. |
| |
|
| WHO
WILL LIKE THIS ALBUM |
|
Piano
Textures will appeal to anyone that enjoys atmospheric ambience
with just enough melody to touch the heart. If you enjoy processed
piano minimalism don't miss this one. |
| |
|
 |
|
------Parallel
Worlds - Obsessive Surrealism |
| STYLE |
|
Moody
electronica with strong structures and deep atmospheric
backdrops. Obsessive Surrealism delivers eleven melodic
synthesiser tracks where low key beats or driving electro-grooves
propel shadowy compositions with periodic hints of exposed
Berlin roots. Rhythmic sequencer patterns work in tandem
with programmed percussion to give most pieces a clearly
measured pace, that said, the grooves often break down into
fluttering interludes or textural ambient explorations.
Parallel Worlds makes abundant use of analogue hardware
to create a sound that harks back to the electronica of
previous decades whilst set within a twenty first century
context. The melodic content is understated, sometimes carried
by drifting chord progressions; sometimes dimly lit phrases
shot through with percolating, flickering sequences. |
| |
| MOOD |
|
The range
of synthetic sound here is broad, inventive and engrossing;
the style also quite varied from track to track - yet the
whole album is very coherent, establishing a well thought
out sonic environment. There is a fairly consistent shadow
hanging over most of this album - low light technology and
mysterious spaciness combining into sinewy, ominous themes.
The beats at their most strident produce an engine-like drive,
a dramatic futuristic regularity, almost militaristic - but
frequently these are allowed to break down or disperse into
lighter rhythms or even into beatless expanse. |
| |
| ARTWORK |
|
An
abstract image that looks something like a photograph taken
from a TV screen fills three panels of this package - thin
horizontal bands of blue, red and green form dark geometric
shapes - on the front a narrow white vertical strip holds
the titles and the DiN catalogue numeral 26. On the reverse
a broader strip of white holds track titles and their timings
as well as informing listeners that this is a limited edition
of 1000 copies only. Inside the two leaf booklet opens out
to reveal a bank of sound gear illuminated by small rows of
lights, meters and glowing digits. Facing this large image,
the remaining inner panel is again white with black text in
a simple font - a repeated track list, credits and thanks
along with a gear list of 'selected equipment'. |
| |
| OVERALL |
|
Parallel
Worlds is primarily the project of Greek musician Bakis Sirros,
although collaborators occasionally lend their talents to
the name. Here Obsessive Surrealism is appropriately presented
via Ian Boddy's DiN label - the experimental, slightly ambient
approach to pure electronica fitting nicely into the label's
catalogue. Promotional material explains that "Parallel
Worlds use mostly Hardware machines. Mainly huge Analogue
Modular systems and Analogue Step Sequencers of the past and
present combined with digital FM and virtual analogue synths
and sampling". This love of gear is evident in the soundscaping
of the music - in addition to the emotive nature of the compositions
themselves, there is a clear delight in sound sculpture and
sonic layering - clearly a lot of time has gone into the production
of this album. Bakis Sirros is also behind the new IDM/electronica
project Interconnected with Ingo Zobel (of DRON, Signalform,
Self Oscillate, Datasette) and the Ambient / experimental
project called Memory Geist with Steve Law (of Zen Paradox,
Starseed Transmission, Guild Of Fire, etc.). |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Obsessive
Surrealism will likely please DiN regulars as well as fans
of evolving Berlin school electronica. Go for this one if
you enjoy moody synthetics with clear beats and ambient
cloudscapes. |
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|
