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----------Various
Artists - Fahrenheit Project Part 7 |
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STYLE |
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June 2011
Fluid journey through ambient groove and oneiric downtempo.
The final part of the Fahrenheit series delivers another dose
of cinematic psybient soundscaping guaranteed to transport
the listener to tranquil vistas and exotic dreamlands.
Opening with the burbling bass and stratospheric angelic vocal
filaments of Gaiana, the initial phase of the voyage goes
on to present the chilled trance and ambient interludes of
Asura and Astropilot. Circular dissipates the regularity of
the grooves for a while with a spacious, airy composition
that glides and drifts on smooth atmospheric currents; spoken
words from poet Rolf Jacobsen's "Landskap med gravemaskiner"
echoing within the music. Scann-Tec retain something of this
expansive approach whilst returning the four four kick beat
and transmission type voice samples against twinkling, coruscating
electronic textures - very serene, very floatational. Hol
Baumann's signature ethnic measured structure leads the way
into Cygna's meandering arpeggio riddled Su Abir, where Middle
Eastern elements periodically colour the mix. The next shift
sees Field Rotation's textural rhythm and peculiar peripheral
sounds gradually build into a percolating bass line and fluttery
beat which falls away just after midway through the track.
Maurizio Piazza's penultimate Hundred Miles is a lustrous
piece where sequenced patterns roll round upon a light beat
in mesmeric repetition, spacey pads and sound clouds hanging
just behind. The set is concluded by the train-like rhythm
and drifting, layered drones of Solar Fields' OnFlow. |
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| ARTWORK |
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As
with previous Fahrenheit Project releases, part seven arrives
in a glossy digipack of two panels; deep, colourful liquid
imagery adorning each section. Bright bubbles and elegant
graphic forms cluster upon an indistinct yellow/orange form
that blurs into rich blackness. The rear cover continues the
same visual theme with greater incursion of shadow: track
titles are listed here each with its running time; brief credits
below. Inside the tracklist is expanded with writing details
and credits attached. Here the imagery is shadier still, only
the reflective surfaces of the bubble forms parting the darkness. |
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| OVERALL |
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This
seventh and final volume of the Fahrenheit Project (although
by no means the end of Ultimae output we are assured) delivers
more of what has made the project so appealing to Ultimae
fans: ten tracks of glowing ambience, sparkling arpeggios,
hypnotic grooves and exquisite programming. The range of international
artists selected by AES Dana includes: Asura, Solar Fields,
Scann-Tec, Field Rotation, Maurizio Piazza and Circular. There
is a track by Hol Baumann remixed by Max Million. There are
newer artists also: Cygna, Gaiana and Astropilot. Luxuriously
unhurried progressions have resulted in tracks ranging from
around five and a half minutes up to nine nineteen. As always,
you can visit the Ultimae
website for a detailed presentation of the album including
sound samples of each track. |
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----------Time
Being - A Dimension Reflected |
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STYLE |
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June 2011
Pure ambient spaces.
A Dimension Reflected consists of a series of smooth, drifting
electronic expanses wherein synthetic drones, flushes and
currents of tone and noise gradually heave and lazily whirl.
Time Being combine “electronic instruments with deep,
rich effects” to create soft-focus mindscapes where
time seems to imperceptibly alter in nature: to slow, to pause,
to rest? The individual compositions morph and spread like
clouds around a single tonal focus; minimal in melodic structure,
beatless, meandering, timeless. Liquid blips, sparkling textures,
pulsing susurrations and reverberating infusions periodically
detail the slowly shifting zones and evolving chordal forms.
In general, the various pieces are harmoniously inviting and
eminently serene, the dark undertones that well up from below
lit from above with warm washes, animated by organic infusions. |
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| ARTWORK |
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A
Dimension Reflected arrives in a neat jewelcase with a two
panel insert. There is a dreamy feel to the hazy, grainy,
colour-saturated imagery that runs throughout the package.
Photographs of quiet places, smooth skies and dense nature.
The front cover holds a scene of inclement season: the bare
trees and heavy hues suggestive of winter’s onset or
early spring. Overlaid borders create an impression of photo-chemicals
creeping onto the imagery. The rear cover is mostly sky: a
graduated aqua-blue to ocean-green (almost as if seen from
underwater) with tree tops on the bottom edge mirrored in
the chemical blotches along the topmost border. Track titles
are here with minimal credits. Within the two-panel spread
is given over to an evocative shot of close-up grass heads,
soft focus background undulations and blue-green submerged
sky. The only text here is a short poetic stanza on the subject
matter of the album. |
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| OVERALL |
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Time
Being is the project title taken on by collaborating ambient
musicians Phillip Wilkerson and Jourdan Laik. Their first
release in partnership, A Dimension Reflected explores a shared
interest in the nature and perception of time. The album is
delivered via the Lotuspike label, a subsidiary of Spotted
Peccary and contains eight mid-length tracks ranging from
three minutes forty one to eleven twenty nine. Promotional
material offers: “Laik and Wilkerson create subtle but
purposeful compositions of soundscapes – or timescapes
– that guide the listener’s attention to full
awareness of the eternal present moment, whilst simultaneously
suspending the subjective passage of time.” Experience
it for yourself; these attractive recordings certainly absorb
the attention in dislocated reverie if allowed to do so. The
Spotted
Peccary website offers listening opportunities whilst
the project's
own page provides background information including notes
of the album's inception. |
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----------Yes
- Fly From Here |
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STYLE |
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July 2011
Progressive rock.
The usual Yes five-piece comes together with a new personnel
structure and a fresh approach to the traditional Yes sound.
Chris Squire on bass (the only member to have consistently
appeared on each Yes release), long time guitarist Steve Howe
and drummer Alan White are ongoing threads central to the
Yes chronicles. On Fly From Here these impressively skilled
musicians do much to maintain the Yes signature sound. Keyboard
duties have varied more over the years and so here we have
the return of Drama-era Geoff Downes in tandem with producer
Trevor Horn. This duo is credited with the bulk of the writing
and so a hybrid sound similar to early eighties Yes often
emerges. The most obvious difference to the normal Yes line-up
is, of course, the inclusion of vocalist Benoît David
in place of Jon Anderson following Jon's serious illness in
recent years. David can sing the demanding back catalogue
sufficiently like Jon, having performed in a tribute band
for some time before being recruited to the real thing: however,
here he sings mostly like Benoît David apart from a
few climactic moments when the harmonies combine to sound
very Yes indeed. The style of Fly From Here recalls a range
of phases in the history of the band: Drama being an obvious
starting point since the almost twenty five minute multi-section
opener was initially penned by Downes and Horn for that album.
There are pleasing echoes of Close To The Edge and that epic
early seventies approach that set such a high benchmark for
the Yes team to live up to. Into The Storm recalls the lighter
music of Tormato and Steve Howe's acoustic solo Solitaire
keeps the nostalgia flowing in a piece that might have come
from any of the best Yes periods. That said, this is not an
album that dwells in the past, Fly From Here sees the band
doing what many of the fans would most want: taking the trademark
Yes elements and creating an album that feels very new. |
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| ARTWORK |
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How pleased I was to find that Fly From
Here has Roger Dean as the cover artist. Roger's artwork
is as central to the identity of the band as the music to
many fans; his colourful landscape visions setting a certain
exotic tone that just connects so well. In keeping with
the deep historical roots of the audio compositions, Roger
began the main painting here way back in 1970 as part of
a pair that never were published. The marbled style of sprayed
enamel paint upon water that formed the foundation of many
early paintings is visible underpinning details in more
recent style. Saturated greens in layers of varying contrast
adorn every panel, the Yes logo reworked in blue scales
and fins for the front cover. On the rear we have track
titles and times against a closer section of imagery. More
close up sections of verdant scenery fill the back of the
sixteen page booklet and the space behind the disc itself.
Inside we find a stark monochrome version of the band logo
followed by lyrics for each track and individual studio
portraits. The latter pages hold a group shot with producer
Horn, generous thanks, additional credits and contact details.
The jewel case version that I have in my possession is just
one release format - the package is available also as a
limited edition CD + DVD Digipak, LP and box set with CD,
DVD, LP, T-shirt (L size), poster and lithograph of cover
art. |
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| OVERALL |
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Fly
From Here is the twentieth studio album from the legendary
Yes and the first new material for a decade! The band has
been joined by Trevor Horn who sang on the Drama album after
Jon's departure: this time though Horn is on board as producer
(he previously produced 90125 and co-produced Big Generator)
and song writer. Benoît David sings all tracks except
The Man You Always Wanted Me To Be where Chris Squire takes
the lead. The decision to record with David will surely
be a controversial one as Jon Anderson's distinctive vocal
style has been such a central aspect of Yes music right
from the start. To his credit David does not try to imitate
his predecessor - but opinions will surely vary as to whether
this substitution is for the best - you can't help wondering
"How might that have sounded if Jon had done it?"
Nevertheless, Fly From Here treads a deft balance between
old Yes epics and Yes music for the present decade. The
official
Yes website provides a wealth of listening opportunities,
background details and links.
Meantime Jon Anderson continues to pursue solo works - we
have reviewed his recent release Survival
and Other Stories here at Morpheus. |
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----------Calmen
- Plural |
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STYLE |
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July 2011
Vivacious electronic music with sinewy programmed beats.
Plural is a bright album of exuberant instrumentals where
lush synthetic colour dances upon glitchy electro-grooves
with unself-conscious joyful spontaneity. Strident plastic
bass lines with frequent slap bass effects jerk and pump in
meandering patterns as melodic motifs rise and dissipate at
whim. The pace is mostly at the top end of downtempo, bouncing,
lilting rhythms of clear kick and snare enhanced with hi-hat
and white noise embellishments. Lightly caustic sweeps and
lustrous washes heave and buzz beneath the key themes, peculiar
voice snatches and strongly effected female musings adding
a touch of mystique. At times the melodies rise into near
anthemic dance music patterns; in other places the form is
less obvious as burbling ripples of sound surround energetic
chiming motifs or layered arpeggios tinkle against sharp zaps
and electrobabble. |
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| ARTWORK |
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As
I have the digital release of Plural, I have seen only the
front cover image seen above left. The vigorous streaks
of vivid colour smeared boldly across the image reflect
well the intuitive 'free play' approach to the audio content
of Calmen's album. The title appears almost to have been
casually laid down in curving hand script and equally casually
obscured in part by paint overlays. It feels very much of
the moment, unabashed serendipity. |
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| OVERALL |
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Calmen
is Helsinki based sound artist/composer Jussi Vento. Plural
is his second full length release and follow-up to the 2009
album Bloom, both delivered via the Helsinki indie label
Cymbidium Records. There are a total of ten tracks on Plural
ranging in length from two minutes thirty one seconds to
four forty two. Promotional material explains that "Calmen
refuses to be set under any specific music category - the
main point lies somewhere else. This music has more to do
with space and the concept of space." The album has
an enthusiastic, experimental freshness about it that grabs
the attention, very instinctive and pleasingly ephemeral.
You can listen to the whole album at the Cymbidium
web site or you can find out more at Calmen's
own site. |
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| ARTIST'S
THOUGHTS |
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Like the title "Plural"
suggests, the album is an assemblage of diverse styles and
sounds. The names of the tunes might seem quite random and
meaningless, but that's just the point. The tunes do not
have a meaning in the sense that words do. It's not about
saying something, but rather about feeling something, it's
about epiphanies and ephemeral auditory events and universes.
That all might seem a bit grand, but it's not. It's actually
pretty simple and straightforward. That is the moment of
play, the beginning of a game. In short, I just wanted to
squeeze some playful and spontaneous musical moments and
moods into a whole, and at the same time maybe get some
feet moving on the dance floor as well. For personal pleasure
or collective celebration.
- Calmen
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| AUDIO |
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----------Easily
Embarrassed - Tales of the Coin Spinner |
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STYLE |
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August
2011
Electronic downtempo with narrative concept.
The moody chiaroscuro of the cover artwork indicates the tone
of the music on Tales of the Coin Spinner, the unfolding tracks
gradually telling the tale in unhurried luxury. Opening with
evolving arpeggios upon drifting washes of tone, The Truth
soon rolls into action with one of a number of deftly employed
voice samples; bright beat and warping bass line driving a
constantly shifting series of synth motifs. A number of the
tracks begin with emotive introductions: dark ambience, echoing
child's voice, distorted transmissions, whirling coins, doleful
melodic guitar phrases, peculiar environmentals. As the pieces
get under way Easily Embarrassed reveal a spread of styles
from the beatless, melancholia of Under The Jester's Hat and
wistful The Coin Spinner through the dubby organ stabs and
gutsy gurglings of Sylphesizer via the dreamy downbeat choral
mood, and descending, squelching chords of Blessed Day on
Distorted Shape to the heaving heavy electronica and zappy
layering of Little Match Sister. Sometimes the band even manage
to pull off pretty much this whole range within a single track. |
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| ARTWORK |
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Tales
of the Coin Spinner comes in a jewelcase with a three panel
insert of atmospheric narrative imagery. The various panels
all present different sections of a single painting - only
when the insert is opened out fully is the complete story
discernible. On the front cover is a contemplative greying
figure spinning coins upon a wooden table by lamplight. A
leering jester doll looks on as the coins tumble one by one.
On the rear cover, the tracklist hangs over a dusky scene
where a young girl peeps through an open door. On opening
the case the story of the picture is told in five paragraphs
and a final sentence ending in ellipsis...
The disc image repeats the child picture and behind the disc,
pictures on a darkened wall. Opening out we see that Jester
is a jack-in-a-box, animated needing no spring - thanks and
credits displayed over his shoulder. Finally the full three-panel
view puts girl, toy and spinner into a single panoramic whole. |
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| OVERALL |
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Tales
of the Coin Spinner is the third album from Dutch trio Easily
Embarrassed; building on the success of the 2008 debut Idyllic
Life, and 2009 follow-up Planet Discovery. Released via their
own label, brothers Nick and Jeffrey van der Schilden together
with Peter Spaargaren here deliver an ambitious ten track
concept album that confidently prowls across various sub-genres
of the electronic psy-trance and chilled IDM field. In places
the music edges into ambient drifting - lose and fluid - at
the other extreme there are progressive aspects of clever
structure and development. The complete suite of tracks totals
just about an hour with a Soundcloud player on the ban's website
providing previews of each piece. |
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----------y0t0
- Uriarra Road |
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STYLE |
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August
2011
Emotive ambient music.
Decadent electronic textures and crackle beds enshroud delicate,
sparse melodic threads: no beats, only the subtle rhythmic
heave of tonal swell. y0t0 combines field recordings, digital
sound manipulation, synthetic drones and processed guitar
to produce deeply evocative, cinematic aural environments,
mood pieces, narrative snatches. y0t0 is not alone on Uriarra
Road: collaborating artists include Downliners Sekt, Jasper
TX, Ghosting Season, Field Rotation, Spheruleus, Relmic
Statute and Seaworthy; these present personal interpretations
of Uriarra Road itself, evenly interspersed between the
other compositions of the album. Faint hints of birdsong
hang as distantly as the almost ethereal melodies, embedded
in mists of static and rain. Snapshots of town life emerge
in places: brief moments of activity amongst the eroding
winds of time: a passing vehicle; voices on the edge of
hearing; human movement. |
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| ARTWORK |
|
This
digital release comes with an accompanying short film by
Antonymes, a PDF artwork booklet and individual images for
each track of the album. The moody duo-tone images are heavy
with black shade, many incorporating overlaid text crawling
in the brighter regions. Like the music, visuals focus on
the optimism within decay: urban edges and architectural
vignettes with brooding skies of intense cloud and lustrous
light. One image captures what is presumably the artist
in similar chiaroscuro, the diagonal shaft of a guitar,
bright hands, no face. |
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| OVERALL |
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y0t0 (Year Of The Ox) is the solo project of Charles Sage.
Delivered via Fluid Audio's sub-label Facture; Uriarra Road
is the first full length release from Sage who might well
be known to many ambient fans from his work as Hessien with
Tim Martin. Promotional material points out that the album
is "inspired by the 1988 Australian thriller In the
Winter Dark." The music "charts the decline of
an outback town "drunk on nostalgia" in the wake
of a fleeing industrial base." The fourteen tracks
can be sampled at the artists Bandcamp
page and an associated video along with booklet images
is available at Fluid
Audio. Uriarra Road is available in all major download
formats and the images make fine screen savers.
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