|
 |
|
----------Craig
Padilla, Zero Ohms, Skip Murphy - Beyond
The Portal |
| STYLE |
|
Delicate ambient space music.
Beyond the Portal is like a soft, warm bath of coloured
mists and vapours: airy threads and fine filaments of sound
waft in gossamer sheets whilst elegant melodic flutes, expansive
pianos or programmed tones lazily unfurl with an intricate
beauty that mirrors the rising plumes of lilac smoke on
the album cover. There are no beats here until the final
track - everything drifts with spacey weightlessness. Sequencer
patterns are not used to generate rhythmic drive, rather,
they are allowed to well up in subtle patterns that bring
touches of crystal to the more pervasive fluidity of the
drones and swells. There are passages with a restrained
dynamism; emotional surges where the music builds into ponderously
heaving enormity; the serene beat of the concluding piece
embellished with sequencer bubbles; the grandiose density
of Akasha. |
| |
| ARTWORK |
|
The
front cover of this jewel case presentation sets the mood
for the album exquisitely - planet earth arcs out of shadow
at the foot of the image into a glowing nimbus that quickly
dissipates into the vastness of space. An effulgent eruption
of coloured vapour rises from the globe's surface, a mesmerising
plume of colour further ascending into darkness. The rear
cover features a similar design from a different perspective
in different hues. Here the tracklist shows that the six compositions
are arranged into three distinct sections. Brief credits foot
the back panel. Within is a two panel insert - the outer section
extends the front cover imagery, another curved earth surface
barely breaking into view. Innermost the backdrop is black:
to the left portrait images of the trio; to the right a list
of instruments used by the players and website details. |
| |
| OVERALL |
|
Craig Padilla,
Zero Ohms (Richard Roberts) and Skip Murphy have worked
together in various collaborative combinations before -
this current release brings all three together building
on the foundation established by Padilla and Roberts via
the album Path of Least Resistance. Padilla and Murphy deliver
the synthetic content via a range of analog, digital and
software synths and sequencers whilst Zero Ohms provides
assorted flutes, wind-synth, piano and further electronic
content. The concept behind the music is picked up in promotional
material with Roberts explaining that "the new release
is a more yin-inclined exploration of an inner space as
opposed to the yang-oriented excursion through outer space
presented on the earlier Path of Least Resistance".
If you are wondering about the portal - "The Portal
represents our own limitations,” states Roberts, “and
so to go beyond the portal is to become more than we believe
we are." |
|
 |
|
----------H.U.V.A.
Network - [Ephemeris] |
| STYLE |
|
Immersive electronica with dreamy
downbeat trance rhythms. Ambient spaces open up with sonic
mists hanging heavily, throbbing patterns welling slowly into
percussive regularity. Lush pads and translucent textures
are embellished with subtle cycling sequences, rippling arpeggios
and morphing, repeating phrases. Guitar lines and fret squeaks,
lost voices, hints of flutes, sitar textures and environmental
recordings broaden the mix – as well as a range of colourful
synthetic effects. Plenty of echo and reverb often lend an
air of enigmatic haze or suggest remote distance. Beats range
from delicate, sleepy undulations to driving downtempo structures
– crunchy hits or muted forms, generally very intricate,
detailed, shifting affairs. |
| |
| ARTWORK |
|
Ephemeris
arrives in usual Ultimae style – abundant black framing,
panoramic imagery and generous glossy booklet. The broad cover
montage brings water droplets, frosted twigs and gleaming
little haloes together into a complex shadowy dreamscape.
Within, the two end panels contain monochrome photographs
of the separated artists at work in their respective studios.
Centrally a split portrait sits behind the disc – two
faces struck into one. Following the successful format of
other recent albums, the inserted booklet repeats the cover
theme on the outside and then goes page by page through each
track of the album – although the subject matter of
the photography here is perhaps more pastoral and somewhat
less abstract than normal. |
| |
| OVERALL |
|
For the second
time Aes Dana and Solar Fields projects meet, disperse,
entwine and reform as H.U.V.A. Network. Magnus Birgersson
and Vincent Villuis combining their considerable talents
into this joint entity with a distinct identity all of its
own. The approach is similar to the debut album of 2004
- the same subtlety is here, the same low key melancholia,
the same inventive beauty - a true sequel in every way.
This time ten tracks of mid-length are presented, three
forming a set under the titles Orientations parts 1 - 3.
For anyone interested - "An ephemeris (plural: ephemerides;
from the Greek word ephemeros "daily") is a table
of values that gives the positions of objects in the sky
at a given time or times. |
|
 |
|
----------Robert
Scott Thompson - Ghost Worlds Electroacoustic Music |
| STYLE |
|
Deep
ambient environments and experimental soundscapes. These
sonorous expanses crawl with haunting peculiarities and
mysterious layers of sonic fog. Opening with a heavy bang
and thick, grating disturbances Ghost Worlds declares itself
to be a challenge to the senses right from the start. Beatless
and melody free; reverberating chimes jangle, clang and
toll; shimmering drones ebb and flow; voice-like snippets
flit through the air; shufflings, clatters, rattles, turbulence
effects all enmesh into one organic whole. Less obvious
sounds include bamboo, tuned glass instruments, filtered
noisebands, piano, choral sonorities - as the full title
indicates, synthetic and acoustic sound sources are both
given equal weight in these other-worldly arrangements. |
| |
| MOOD |
|
The
mood is consistently one of sombre expectation and uncertainty,
sometimes almost weightless and drifting, often grounded by
means of the frequent percussive elements - metallic impacts
and dense atonal shiftings. There are some disquieting passages,
most often when hints of humanity arise within the mix - disembodied
voices, choral wafts, remote presences. |
| |
| ARTWORK |
|
Ghost
Worlds Electroacoustic Music comes in a jewelcase presentation
with a full colour single sheet insert. The front cover holds
a crepuscular desert scene with heavy sky set within broad
white borders. The rear holds a tracklist displayed on a muted
twilight tree portrait - black text on grey twigs and branches.
Within is a detailed discussion of the music track by track,
inspiration is outlined, recording details explained and commission
information given. There is also a brief biographical section
on Robert Scott Thompson. |
| |
| OVERALL |
|
This
2008 release from ambient musician Robert Scott Thompson
is released through his own Aucourant Records label. The
album consists of a 'concert suite' of four extended recordings
totalling fifty six and a half minutes in total that were
premiered at the SOUND Festival of New Music in Scotland
in November 2008. The artist explains that his music arises
from "structured improvisation" and an interest
in "various intersections between aesthetics, creativity,
consciousness and experience." Often the music "has
no specific technical agenda" and is structured via
a "background formal geometry." |
| |
| WHO
WILL LIKE THIS ALBUM |
|
If
you enjoy experimental ambient music and have no need for
melodic content - then Ghost Worlds might be for you. Don't
expect an 'easy-listening' experience, these are engrossing
sound experiences that mesmerise and enthral. |
|
 |
|
----------Between
Interval - The Edge of a Fairytale. |
| STYLE |
|
Ambient soundscapes - some rhythmic,
some beatless and drifting. These smooth compositions have
a clean spacey nature, velvet drones and glossy washes welling
up into curving waves of sound, softly undulating sequential
phrases and patterns somewhere just below the surface. Dark,
shifting masses of tone at times suggest enormous expanses,
lighter strains faintly illuminating the gloom, atonal threads
suggesting air movement. A downtempo trance-like pulse drives
Minotaur's Lair into throbbing motion, whilst a beguilingly
languid electronic beat barely rolls along on Sea of Darkness;
the rest of the music is without obvious rhythm. The thematic
inspiration for the music has led to these pieces having an
enigmatic moodiness - remote origins and whispered beginnings
- reality and imagination intertwining. Environmental elements
keep the music grounded - water movement, a bird, occasional
movement as if someone is passing through, far off voices
distorted and vague. |
| |
| ARTWORK |
|
The
Edge of a Fairytale arrives in a jewelcase with a two page
insert. Shadowy forest imagery fills every panel both inside
and out. On the front cover a cascading stream with heavy
vignette blackening the edges. Other images are more focussed
on trees and forest panoramas with a fern close-up behind
the disc itself. The photographs are given an edged effect
that makes them appear almost painted. Tracklists appear on
the rear and inside - the outer list having track times alongside.
Inside is a little information outlining credits and thanks
along with relevant website details. |
| |
| OVERALL |
|
This is the fourth
Between Interval album from Stefan Strand (previously named
Stefan Jönsson) and follow-up to the 2006 release Autumn
Continent. This time the album is released via Spotted
Peccary Music and contains eleven immersive compositions
ranging from over eleven minutes to as short as one minute
forty eight. The artist explains "There are many religions
and beliefs in this world. There are stories and tales that
are thousands of years old about mythological characters,
creatures and places. To me, letting these tellings influence
our lives, without knowing the truthfulness behind them,
means that we're living on ‘the edge of a fairytale’
- between the known and unknown." |
|
|
|
----------Bluetech
- The Divine Invasion |
| STYLE |
|
Downtempo
electronic instrumentals with plently of dub and glitch
elements. This latest offering from Bluetech is a further
exploration of the chilled, lightly percolating sound that
has distinguished the artist from the start. Smooth ambient
textures contrast intricate rhythmic structures of layered
phrases and mesmerising beats. Interesting effects and peculiar
sound sources are scattered throughout, often making up
key parts of the melody. The basslines throb and pulse with
a familiar bounce, lifting the downbeat tempos, pumping
a gentle energy into the mix The melodic aspects have a
liquid fluidity and slightly mechanical clarity - busy structures
that ripple up and down colourful scales, flicker in glitchy
repetition or cycle into hypnotic familiarity before morphing
off into fresh form. In short this is trademark Bluetech
riding the crest of a wave. |
| |
| MOOD |
|
The
mood here is mostly one of relaxed wonderment - the harmonies
are inviting and warm, the pace relatively tranquil and yet
the melodic structures are full of energy, complex detail
and interweaving patterns. For the most part this album is
a bright affair - crystalline and lucid, even in the more
shadowy corners the twinkle and glitter of arpeggios and sequential
phrases maintain an interest more in the light than in the
darkness. |
| |
| ARTWORK |
|
The promo package that I have features a
bright, complex graphic montage on the front cover - a sharp
human profile embellished with a profusion of curling panels,
swirls and leaf forms. The rear holds a tracklist and an
explanation of the project. Within, the tone is darker -
heavy grey, but again dense with partially submerged imagery.
Here is a second tracklist and a lengthy paragraph on the
artist providing biographical and recording information.
On the opposing panel are brief credits, web and contact
details and a portrait of Evan emerging from the gloom of
the busy backdrop. |
| |
| OVERALL |
|
Coming
after a considerable break from the Bluetech project, The
Divine Invasion picks up where Sines and Singularities left
off - but with added depth, travelling further into the
signature sound that identifies Bluetech. This is a good
thing, many artists in an attempt to stay fresh begin to
change their sound and end up losing what made them unique
and appealing to begin with. This is not the case here,
The Divine Invasion is certainly fresh - but this is achieved
through development rather than abandonment of previous
themes and techniques. Once again Aleph-zero is the chosen
label - this release surely becoming yet another valued
addition to an already well respected catalogue of quality
electronica. The album includes a number of collaborative
pieces jointly credited to Mirror System (aka System 7)
and Eitan Reiter with Bluetech as well as a remix of .an
Ace Ventura and Lish track. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Bluetech
fans will be delighted by this new album as will most Aleph-zero
adherents since the music stays true to the ideals of both.
If you haven't experienced either yet - this is an album for
lovers of lively electronic ambient dance music. |
| |
|
| SOUNDS |
|
|
|
 |
|
----------Magic
Sound Fabric - Observer |
| STYLE |
|
Downtempo electronic semi-instrumentals.
A number of the tracks on Observer have vocals, however,
these are strongly effected and so submerge somewhat into
the synthetic soundscaping, resulting in something that
feels almost like an instrumental album. The compositions
are strongly melodic, the singing supported by a range of
programmed sounds and the occasional piano. Subtle arpeggios
and sequential phrases roll around slightly below the surface,
soft pads and washes helping the mix to flow smoothly. Deep
sub-basses loom and throb whilst laid back grooves deliver
dreamy rhythms. There are elements of dub and IDM along
with touches of ambient among Magic Sound Fabric's current
sound, but the most clear distinction from previous work
is the presence now of Cameron's vocal lines. |
| |
| ARTWORK |
|
Observer
arrives in a crisp digipack in two panels. The main cover
shows a two graphic portrait profiles, shades of muted green,
apparently of the same individual: the leftmost character
has a projector overlaid onto his temple, lens in line with
his eye, this device bathes the opposing face in divergent
rays. The same colour scheme is repeated on the rear: here
is a tracklist on flat white ground, simple credits and website
details. Within on a bed of rays similar to those on the front
cover we find lyrics for a number of the tracks. |
| |
| OVERALL |
|
Magic Sound Fabric
is the work of composer and graphic artist Cameron Akhunaton.
Observer comes as the fourth Magic Sound Fabric album and
follow-up to the 2004 release Freedom Star (reviewed
here at Morpheus). The label once again is Cameron's
own US based Spiralight Recordings. The nine tracks here
show Cameron's familiar chillout sound benefitting from
the considerable technological developments in music since
the previous release - the sound quality is sharp and clear,
the instrumentation inventive. The idea of the album is
to take "a dive inside the subconscious mind".
If you'd like to hear for yourself - why not take a look
at the official website - there are samples of all the tracks
here.
|
|
 |
|
----------Bruno
Sanfilippo - Auralspace |
| STYLE |
|
A suite of flowing ambient expanses - some with rhythm,
some without. This series of seven tracks is arranged into
a continuous fluid whole. Although each track has a distinct
character of its own the connections are almost seamless
as subtle sonic morphing takes one piece smoothly into the
next. The various compositions are united by a tranquil
drifting quality that ebbs and flows in ponderous undulation
- very restful, mesmerising. Yet there are great depths
here, and strong sonic colour: distant jangles, twittering
birds, soaring air movements, muted whistles, echoing crystal-like
electronic phrases, distorted ethnic flutes and patches
of dense, heavy sound that in turn fall apart and disperse
back into the atmosphere. When the music rolls into rhythmic
motion the effect is one of easy transition from steady
state into electro-organic groove, the percussion or sequential
patterns having a timeless, placeless, universal quality
about them.
|
| |
| MOOD |
|
The
mood throughout Auralspace is one of wonder and serenity.
Moments of mystery and exotic twilight are highlighted by
beats as soft as the rhythms of the human body. Lighter passages
seem to take the listener high into the clouds, delicate vapour
trails of transparent tone wafting weightlessly past. There
is often a sense of blissful abandon and pleasant warmth inviting
one to let go and sail off into the seemingly endless liquid
space that Sanfilippo has so carefully conjured up. |
| |
| ARTWORK |
|
Auralspace
is a deluxe digipack presentation - a sharp matte card gatefold
in three panels. The front and back imagery features a human
ear overlaid with a bold weave texture - rich additional surface
layers and shadowy obscurity combine to create an impression
of mystery that holds the eye. This is a tasteful object in
itself. The remaining outer panel when unfolded, holds all
the relevant information; a tracklist with associated timings,
a quote from Jorge Luis Borges and a gear list. Within, the
space is wordless, given over entirely to visuals that symmetrically
fill the extreme right and left panels - a profile of a strongly
grained face, partly turned away. The ear of this figure holds
a bright burst of light that sends beams radiating outward.
The disc itself is central, hiding a final, lush weave design. |
| |
| OVERALL |
|
This album sees Bruno Sanfilippo develop his solid solo
discography deeper into ambient dreamscapes. The delicate
pianos of the past few releases are replaced here with gently
heaving beds of tone and layered electronics. Coming as
the artist's twelfth release it is delivered via his own
AD21 Records label and will be available through Musiczeit
as well as other well-known download platforms. Clips can
be heard on Bruno's website here.
|
| |
| WHO
WILL LIKE THIS ALBUM |
|
Auralspace
will appeal to ambient fans that enjoy strong flavours and
warm infusions. There is plenty to 'listen' to if you so choose,
yet melody is minimal and restrained or emergent. If you have
enjoyed the peacefulness of Bruno Sanfilippo's most recent
albums, then that feeling is still here only this time without
the piano focus. |
|
