It has been a little over two years since we heard from Good Weather For An Airstrike, the project British musician Tom Honey conceived nearly nine years ago to help alleviate suffering caused by tinnitus. Little Steps is a fine addition to his catalog as it finds the sweet spot between the ambient, post-rock, and electronic elements which are all integrated into a seamless organic flow with a deft and delicate touch.
Jason Sweeney is known for a wide variety of projects and many musical aliases over the past two decades. Perhaps the most personal and intimate is the classically oriented Panoptique Electrical which saw a new release this month, the first since last year’s Disappearing Music for Face. A great deal of what you need to know about the know record is encapsulated in its title – Quiet Ecology.
In 2016 Sweeney undertook a quiet odyssey across four Australian cities (Adelaide, Perth, Sydney and Melbourne), searching out and mapping quiet spaces in and amongst these built environments. He wanted to discover as many zones of quiet or retreat in these cities and make compositions in response to these locations. He created maps and listening walks that took him from space to space. His desire was to ask a simple question: Can you find a way to release yourself, if only temporarily, from the noise of the world? ‘Quiet Ecology’ is a sonic memorial to these spaces and a musical act of quiet preservation. – Sound in Silence
Following last year’s impressive full blossom of the evening, California-based r beny returns with another beautifully crafted opus fashioned from modular and hardware synthesizers entitled cascade symmetry. The album, which was recorded in San Jose but features additional field recordings captured in South Korea is a work the artist refers to as the “culmination of an intense and transformative year-long period” and “an ode to new beginnings and the disintegration of the past”. While that may be true creatively speaking, the listener will experience this album as a soothing immersion in a world of sumptuous textures; a warm and inviting quiescence of time as lush, shrouded, and remotely melancholic as Austin Cairn’s imagery of the Oregon coast on the cover suggests.
On their first two albums Chicago-based trio To Destroy a City introduced us to a sophisticated and exhilarating sound forged from layers of guitars, synths & pianos and driven by electronic beat production intertwined with live percussion. In two weeks when they roll out their third record entitled Go Mirage, fans and new listeners alike will be treated to not only their most stunning sonic tapestries yet, but an inspired new vocal dimension which does no harm whatsoever to their post rock pedigree.
“This follow-up to 2014’s post-rock paragon SUNLESS has an added immediacy due to the soaring nature of guitarist Michael Marshall’s step toward the mic…Idealists might bark that To Destroy A City can’t continue to fly the post-rock flag with such a vocalic album. The enlightened will find that the addition of vocals places the band as contemporaries to artists such as Caspian, Mogwai, and Album Leaf which have effectively used vocals as key components in their music.” – n5MD
There are few artists who are able to convey the full drama and scope of the existential ache through their music as Amir Abbey aka Secret Pyramid. Drawing inspiration from the vast Pacific Northwest where he is based, he builds plaintive minor key melodies into monumental edifices of sound that somehow never lose their intimacy or emotional compass and he as the height of his powers on his latest album entitled Two Shadows Collide. This music is full of compelling paradoxes. It is crepuscular and illuminated; tentative and transcendent; lush and barren, majestic and devastating. But it is these very conflicts that are at the heart of the album’s themes.
Carefully built and fluidly performed, the record expands Abbey’s relationship with modern composition and abstract songcraft. Each song’s main inspiration comes from the notion behind the album title, the intersection and attraction of forces and worlds, clashing of sounds, and the dualities within our lives. That such a meditative release is built upon conflict is ironic, but therein lies the perfect way to listen. – Ba Da Bing Records
After providing the music to films such as the 2017 Cannes-nominee ”Push it” and the Guldbagge-awarded/ Prix Europa-nominated ”Skörheten” (Fragility), Stockholm-based composer and multi-instrumentalist Jakob Lindhagen has just released a new full-length solo album called Paces. It features nine pieces led by piano & string trio and colored with unexpected instrumentation such as musical saw and zither as well as other sounds resulting from both deliberate experimentation and happenstance.
”I was recording with equipment that wasn’t always functioning properly. For example, one microphone occasionally started to pick up radio frequencies. At times it was really faint and turned out to be a detail just adding to the overall impression, so I decided to keep it. Other times it was really “in your face”, instead inspiring me to incorporate it into the composition” – Jakob Lindhagen
The first thing that strikes you on This Body Is Not Me by Slow Heart Music (aka Ben Rath) are the mellifluous tones that resonate with a sun-soaked, pastoral warmth from the wooden body of an impeccably tuned guitar. The tunes are brand new yet instantly take on the aura of the timeless and familiar. This subtle sorcery becomes even more impressive when you learn that Rath improvised these pieces, many in a single take, using a second-hand instrument picked up on the cheap.
“Slow Heart Music was conceived as a way to create music in a more spontaneous and live way, with minimal electronic interference and using a basic, lo-fi set-up. The tracks on ‘This Body Is Not Me’ were recorded on a small classical guitar Ben purchased for £5 from a bring-and-buy sale in the basement of a cafe. Ben would improvise on this guitar in a relatively free and unstructured way until a theme or melody organically developed. He’d then press record on a digital audio recorder and create a spontaneous composition out of that theme.” – Whitelabrecs
Soft Ice is a gorgeous, billowing immersion in youthful memories of winters past by ambient artist Angela Klimek under her musical nom de plume, poemme. The album which she released herself earlier this year is now available in a nicely packaged CD edition on Polar Seas Recordings where these beautiful monochromatic dreams in drone form find a fitting home.
“This collection of songs was composed specifically for sleep and reflects my memories of winters growing up in Cleveland. The endless gray skies, the magic of a fresh blanket of snow, and more wonder still once Lake Erie transforms into a vast, frozen desert. The scene takes place at my favorite lakeside park, with a pale sky above and waves of solid ice below. All is silent but for a flock of geese in the distance, making its way to warmer land…” – Angela Klimek
What exactly is “cinematic folk”? A good way to answer that question would be to have a listen to Landscapes, the latest solo release by Oakland-based composer, producer, & multi-instrumentalist Jacob Montague. The album, which flows more like a suite than a collection of songs, oozes pastoral charm with scene-setting atmospheres and a strong narrative flow propelled by a keen sense of rhythm given a wide-screen context by clever integration of lush electronics, strings, and bold percussive elements.
When I first heard instrumental trio Square Peg Round Hole was making an ambient record, I was expecting a conventional approach – rework the same melodic constructs of their prior albums while losing the drums, lowering the volume, and slowing the pace. That would have been a pleasant enough affair to be sure, but for a band that prides itself on sheer inventiveness, I should have known to expect more. Five Years traverses quite a bit of previously unexplored sonic territory for the band as they show a penchant for developing beguiling, color saturated soundscapes, densely layered and studded with subtle glitch elements and a plethora of vocal & abstract percussive textures.
Guitar loops drawn in long, slow arcs across a crepe-thin curtain of sound and a backdrop of pastoral field recordings. Never claustrophobic, there is ample room to move & breathe among these temperate and mellifluous drones and ample time to ponder as they slow time to a lethargic ebb. The comfort of light in a dark room. This is A Persistent Lack of Ambition by Duister, aka Carlos Maquieira released earlier this year on El Muelle Records, a label based in Málaga, Spain. Was the poetic stanza cited in the liner notes cite inspiration for the music or is it a guidepost for listening? Perhaps both. In any case, this is a lovely opus that is easy on the ear and stimulating to the mind.
My story begins very simply: I could speak and I was happy.
Or: I could speak, thus I was happy.
Or: I was happy, thus speaking.
I was like a bright light passing through a dark room.
(Louise Glück, Faithful and Virtuous Night)
The sensation of floating weightless and carefree in lilting currents beneath an azure sky and a blazing sun casting webs of light on the sea floor below. Hours to drift, to explore, to gaze at the expanse of endless horizons or muse on what lurks in dark places or teems among the cloudy depths. There is no time nor age here in the midst of this collage of youthful memories fashioned from warm aqueous drones and marine sounds.