en http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Thu, 1 Jan 1970 00:00:00 +0000 Thu, 1 Jan 1970 00:00:00 +0000 60 http://www.audioscrobbler.net/data/webservices http://www.last.fm/user/liftmuziek/journal The Last.fm journal for liftmuziek. Last.fm journals are a place to talk about all things music. http://www.last.fm/user/liftmuziek/journal/2011/01/02/44wiqk_headphone_commute%27s_best_of_2010 Sun, 2 Jan 2011 19:37:49 +0000 http://www.last.fm/user/liftmuziek/journal/2011/01/02/44wiqk_headphone_commute%27s_best_of_2010 Happy New Year!

Headphone Commute's Best of 2010 selections are finally here! Just like last year, we are presenting our theme-centered lists, with 10 entries per list! These will be published one per day, beginning today!


http://bit.ly/eXfheH

While you're on the site, be sure to submit your vote for Reader's Selections:
http://bit.ly/dZUMlj

Drop me a line to let me know what you think!!!
~HC
/liftmuziek

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You will dig our selections if you like any of the following:
Marcel Fengler, planetary assault, Ben Klock, Mike Dehnert, Delta Funktionen, Subheim, Broken Note, Matta, Igorrr, Bong-Ra, Enduser, Hecq, Roel Funcken, Mothboy, Detritus, Black Lung, Apparat, Juan Maclean, Kode9, James Holden, Telefon Tel Aviv, Oval, Thom Yorke, Tim Hecker, Autechre, Scorn, Four Tet, Born Ruffians, Junior Boys, Martyn, Roman Lindau, ACT, Rolando, Levon Vincent, André Galluzzi, Marcel Dettmann, Len Faki, Kabutogani, Aoki Takamasa, kiyo, Gultskra Artikler, Ametsub, Consequence, Distance, Alix Perez, Vaccine, Scuba, Meleka, Skream, Genotype, D-Bridge, Instra:mental, Vex'd, Pinch, Skream, The Joker, 2562, Emptyset, P Dutty, The Body Snatchers, Krusseldorf, Omnimotion & I Awake, Vataff Project, Hiberation, Aligning Minds, Robert Rich, Minilogue, Shulman, Peter Broderick, Ryan Teague, Janek Schaefer, Hauschka, Nils Frahm, Jóhann Jóhannsson, Breakage, Skream, Benga, Distance, Cyrus, Caspa, Joker, Ruckspin & Planas, Ikonika, Sub Focus, MRK1, Lusine, Matthew Dear, Shigeto, Mux Mool, Solvent, The Sight Below, Jesu, Pale Sketcher, Richard Devine, Telefon Tel Aviv, AGF, Monokle, Krill.Minima, Maps And Diagrams, Jan Jelinek, Mint, Sabi, Esem, Sleepy Town Manufacture, Digitalis, Kaya Project, Shakta, Pitch Black, Beat Bizarre, London Elektricity, Two Fingers, Coldcut, The Bug, Eskmo, Daedelus, Diplo, Fink, Amon Tobin, Yppah, Bonobo, Mr Scruff, Jaga Jazzist, The Cinematic Orchestra, The Herbaliser, Blockhead, DJ Food, Brock Van Wey, The Orb, DJ Koze, Thomas Fehlmann, Dettinger, Andrew Thomas, Wolfgang Voigt, Gas, Pale Sketcher, NADJA, Architect, Worriedaboutsatan, Bersarin Quartett, ben lukas boysen, Jasper TX, Rafael Anton Irisarri, Boy Is Fiction, Miwon, Sigha, Pangaea, Untold, Surgeon, Digital Mystikz, Martyn, DJ T., Demian Lazarus, Robert Hood, Marco Bernardi, Orphyx, Ital Tek, Starkey, Mr Sizef, Enei, Edward Oberon, Paul B, Sobersoul, Ad Noiseam, Studio !K7, Ostgut Ton, Mille Plateaux, Fabric, multiverse, Tectonic, Aleph Zero, loaf, GetDarker, Ghostly International, Sutemos, Blue Hour Sounds, Med School, Hospital, Ninja Tune, Kompakt, n5MD, Blue Saphir, Planet Mu, Night Slugs, Rinse, Subtle Audio, Max Richter, Byetone, Alva Noto, Komet, sleeparchive, SND, Pan Sonic, Marcus Fjellström, Biosphere, Machinefabriek, Erik Skodvin, Andreas Tilliander, Kreng, Jacaszek, Rafael Anton Irisarri, Elegi, Jasper TX, Library Tapes, Danny Norbury, Murralin Lane, Le Lendemain, Peter Broderick, Sylvain Chauveau, Eluvium, Nils Frahm, Lusine, Ametsub, Arovane, Yasume, Melorman, Funckarma, Rudi Arapahoe, Ard Bit, Boards of Canada, Tycho, Arovane, Melodium, The Black Dog, Brian Eno, Plaid, Lusine Icl, Autechre, Architect, Stephen Hitchell, Deepchord Presents Echospace, Akatombo, Roel Funcken, Funckarma, Quench, Shadow Huntaz, Autechre, Hecq, Gridlock, Deru, Lusine, Proem, Loess, Kettel, Scuba, Pangaea, Untold, TRG, Boxcutter, Sigha, Access To Arasaka, XSOZ, Mobthrow, Subheim, Blackfilm, frank riggio, Cardopusher, Millhaven, Godspeed You! Black Emperor, Mogwai, Explosions in the Sky, Mono, Stars of the Lid, port royal, Wisp, AFX, Kettel, µ-Ziq, Ochre, Squarepusher, Hammock, Lights Out Asia, port-royal, July Skies, Stars of the Lid, The American Dollar, Loscil, Pole, Gas, Christopher Bissonnette, Tim Hecker, Marsen Jules, Julien Neto, Klimek, Ryan Teague, Deaf Center, Rafael Anton Irisarri, Aidan Baker, Fennesz, Belong, Lawrence English, Sam Amidon, Nico Muhly, Valgeir Sigurðsson, FATCAT, raster-noton, Miasmah, Hush, Erased Tapes, symbolic interaction, soma, Warp, City Centre Offices, Hymen, Echospace [Detroit], Modern Love, Echocord, Kompakt, Basic Channel, Ad Noiseam, n5MD, Neo Ouija, merck, Sublight, Hotflush Recordings, Tympanik Audio, Spectraliquid, valeot, Rephlex, Hammock Music, Kranky, Ghostly International, oktaf, ROOM40, Mille Plateaux, Alien8, Staalplaat, Bedroom Community, Joby Talbot, Deru, Talbot & Deru, DJ Hidden, Corey Fuller, Yann Novak, John Friesen, Tyler Wilcox, Monolake, T++, Robert Henke, Torsten Pröfrock, Clint Mansell, Kronos Quartet, Rena Jones, Richard Anthony Jay, Max Richter, Ólafur Arnalds, Vladislav Delay, Sasu Ripatti, Moritz von Oswald Trio, AGF/Delay, Ben Frost, Valgeir Sigurðsson, Nico Muhly, Lawrence English, Miasmah, Fang Bomb, Ant-Zen, Neo Ouija, Mush Records, merck, Ad Noiseam, Dragon's Eye, imbalance computer music, Leaf, Bpitch Control, Bedroom Community, ROOM40, William Basinski, Richard Chartier, Bonobo, Bajka, Bibio, Jaga Jazzist, Squarepusher, Lone, Kelpe, Yann Novak, Taylor Deupree, OVERCAST SOUND, Alva Noto, Ryuichi Sakamoto, Tu M', Cole Pierce, Cell, Aes Dana, H.U.V.A. Network, Solar Fields, Hol Baumann, Tortoise, Mountains, Marsen Jules, Loscil, Sleeping Me, Konntinent, Language of Landscape, inverz, Ian Hawgood, Stars of the Lid, Harold Budd, Brian Eno, Nest, Deaf Center, Svarte Greiner, Biosphere, Deathprod, Peter Broderick, Max Richter, Jóhann Jóhannsson, Helios, Jacaszek, Ólafur Arnalds, Clem Leek, Simon Scott, Machinefabriek, Nils Frahm, Keith Kennif, Rafael Anton Irisarri, Arvo Pärt, The Sight Below, Buzz aldrin, Hauschka, Glenn Johnson, Peter Broderick, His Clancyness, Library Tapes, Wolfgang Voigt, Gas, Marsen Jules, Klimek, Andrew Thomas, Markus Guentner, Donnacha Costello, Triola, Thomas Fehlmann, Brock Van Wey, DJ Koze, The Orb, Jürgen Paape, Bvdub, frank riggio, Amon Tobin, DJ Shadow, Aphex Twin, Autechre, Vladislav Delay, Lulu Rouge, Yagya, Trentemøller, Hammock, Konntinent, B.J. Nilsen, Broken Note, DJ Hidden, Enduser, Hecq, Reso, Innasekt, King Cannibal, Hektagon, Jega, AFX, Wisp, Squarepusher, Clark, Lusine, Lusine Icl, Mr. Projectile, Richard Skelton, A Broken Consort, Rameses III, Brian Eno, Helios, Klimek, RJD2, Cut Chemist, Blockhead, Prefuse 73, Beta Cloud, Aidan Baker, Tim Hecker, Lawrence English, Ninja Tune, LINE, Tru Thoughts, Warp, DC, Dragon's Eye, Ultimae, Thrill Jockey, Spunk, Phantom Channel, Serein, Type, Miasmah, experimedia, Immune, Kompakt, Spectraliquid, Spekk, Touch, Ad Noiseam, Planet Mu, Ghostly International, Hymen, merck, XL, Definitive Jux, Laughing Bride Media, Near The Parenthesis, Another Electronic Musician, Arc Lab, SubtractiveLAD, Proem, Hecq, Funckarma, Lusine, Deru, Arovane, Autechre, Clark, Luke Vibert, Ceephax, Plaid, Richard Devine, Ruxpin, Dryft, Gridlock, Kattoo, Access To Arasaka, Hecq, somatic responses, Architect, Nebulo, Bitcrush, Hammock, port-royal, Lights Out Asia, Dalot, Stars of the Lid, Jatun, Bersarin Quartett, Funckarma, Winterlight n5MD, Meat Beat Manifesto, µ-Ziq, Mary Anne Hobbs, Slugabed, Boxcutter, Kuedo, Ital Tek, FaltyDL, Swindle, Terror Danjah, Rudi Zygadlo, Starkey, Oriol, Mike Paradinas, Geiom, Shortstuff, Jake Slazenger, Digitalis, Kaya Project, Shakta, Pitch Black, Beat Bizarre, Aphex Twin, Cristian Vogel, Air Liquide, SND, Gas, Vladislav Delay, Alva Noto, Kabutogani, Aoki Takamasa, kiyo, Gultskra Artikler, Ametsub, AGF/Delay, Deer, Monoceros, Ulrich Schnauss, Yagya, Swod, Miwon, Funckarma, Sense, Praveen, Kero, IJO, Ruxpin, AGF, Monokle, Krill.Minima, Maps And Diagrams, Jan Jelinek, Mint, Sabi, Esem, Sleepy Town Manufacture, D-Bridge, D-Bridge & Instra:mental, Instra:mental, Consequence, Distance, Alix Perez, Vaccine, Scuba, Meleka, Skream, Genotype, Marcel Fengler, planetary assault, Ben Klock, Mike Dehnert, Delta Funktionen, DVA, Scratcha, Terror Danjah, Kyle Hall, Ikonika, LV & Quarta 330, Dong, Baconhead, Igorrr, somatic responses, Barry Lynn, Boxcutter, Funckarma, Phoenecia, Autechre, Mormo, Anodyne Industries, Kuedo, Eskmo, Burial, Vex'd, VibeSquaD, The Glitch Mob, Welder, Edi, Ooah, Prefuse 73, Daedelus, Richard Devine, Nosaj Thing, Amon Tobin, Eskamon, Eprom, KiloWatts, Bassnectar, Heyoka, Noah Pred, Evan Marc, Limaçon, Steve Bug, Claro Intelecto, Surgeon, Luke Hess, Rod Modell, Deepchord, Quantec, Mikkel Metal, cv313, Marko Fürstenberg, Richie Hawtin, Plastikman, Geiser, JPLS, Heartthrob, Ben Klock, Redshape, Planet Mu, Hyperdub, Blue Hour Sounds, Mille Plateaux, Sutemos, Med School, Fabric, Ostgut Ton, Hotflush Recordings, After Shock, Third Ear Recordings, acroplane, IDMf, bedroom research, Sutemos, Serein, Thinner, Kahvi Collective, monotonik, controne, zymogen, Stadtgruen, Polymorphic Music, 12rec., ancestor, Warp, interchill, Native State, Thoughtless Music, Echocord, m-nus]]> http://www.last.fm/user/liftmuziek/journal/2011/01/02/44whim_headphone_commute%27s_20_compilations_and_mixes_of_2010 Sun, 2 Jan 2011 19:25:08 +0000 http://www.last.fm/user/liftmuziek/journal/2011/01/02/44whim_headphone_commute%27s_20_compilations_and_mixes_of_2010
In this first set of articles celebrating the Best of 2010, we tip our hats to our favorite compilations. Here’s to all the great picks by the labels, DJs, and selectors across the globe, featuring our favorite genres in theme centered mixes and compilations. Head bopping, dance and club oriented genres, such as techno, drum’n'bass and dubstep continue to dominate these selections – these styles are best explored in a continuous progression form, where the evolution of the mix is the art-form itself. Individual 12? and digital EPs are compiled to give you a perfect cocktail, with all of the delicious ingredients, and an umbrella on top. If you are new to any of the genres covered, perhaps this is your chance for a taste. Salut, kanpai, and le’chájim!

Be sure to visit our site and read Headphone Commute's Best of 2010.

Don’t forget to CAST YOUR VOTE in our Reader’s Best of 2010 Selections!

the following entries are listed in alphabetical order

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14tracks – Techno: In Perpetual Motion (Boomkat)
Although not exactly a compilation released by a record label, this bundle of tracks selected by Boomkat online music store, under their 14tracks series, collects an excellent set of tracks, mutating the techno genre into a vast range of sub-styles and more. And that’s what a great compilation is usually about! Featuring a digital selection of rare 12-inchers and remixes from Marcel Fengler, Planetary Assault, Ben Klock, Mike Dehnert, and Delta Funktionen, Techno: In Perpetual Motion gives the listener a great sample of the genre’s position in time and place of today’s evolution of this genre. While you’re on a site, be sure to drop into your cart other bundles. We recommend you expand your horizons with Between the Wires, An Industrial Fetish, and Rendered Silence, among the many recent ones…



Ad Noiseam Label Sampler – Autumn 2010 (Ad Noiseam)
Seriously, what could be better than free music? Wait, I know – how about a free compilation packed with top notch tracks from all of our favorite artists! I wish all of the labels did this! Ad Noiseam got it right! Introduce the listener to its output with this free collection, and then you don’t have to woo them with pretty adverts – the music speaks for itself! Here is a selection of 13 banging tracks spanning cinematic IDM, broken beats, abstract d’n'b, dirty dubstep, and even breakcore from Subheim, Broken Note, Matta, Igorrr, Bong-Ra, Enduser, and of course Hecq, Roel Funcken, Mothboy, Detritus and even Black Lung! Solid selection featuring teasing tracks from recently released albums, plus a a video! If you dig this, you can upgrade this release to 320kbps for only 5.00 €.



Apparat – DJ-Kicks (Studio !K7)
Studio !K7 pretty much started on the platform of their successful DJ-Kicks series. In 2010, the Berlin based label released four mixed compilations from Juan MacLean, Kode9, James Holden and Apparat. It is the latter 24-track trip through some abstract, tech-housy, breakbeat and minimal beats that got our attention. Sascha Ring not only demonstrates his flawless abilities to mix up some of the most varied in genres, but he also shows off his impecable taste as a master selector. Throughout the mix, Apparat showcases his favorite tunes, traversing artists such as Telefon Tel Aviv, Oval, Thom Yorke, Tim Hecker, Autechre‘s remix of Scorn, Four Tet‘s remix of Born Ruffians, as well as some of his own tracks. Great selection and an excellent mix!



Ben Klock – Berghain 04 (Ostgut Ton)
For its fourth installment of mixes celebrating the Berlin based Berghain nightclub, Ostgut Ton (the club label), has invited one of its favorites, to drop a heavy compilation, ready to shake out the hollow concrete walls of any subterranean dwelling. Guiding you through nineteen tracks of minimal house, techno and dub beats, Ben Klock effortlessly transitions between Junior Boys, Martyn, Roman Lindau, ACT, Rolando, Levon Vincent, and of course Ben Clock himself. There are no highs or lows on this release, just an hour of pounding, mind cleansing, and hypnotic beats, that are meant to possess your body, and move you relentlessly through the night. Be sure to check out the first three installments with André Galluzzi, Marcel Dettmann, and Len Faki.



Clicks & Cuts 5.0 – Paradigm Shift (Mille Plateaux)
The influential German label that introduced us to the genres like click-hop and glitch-pop returns with its fifth installment of the Clicks & Cuts series, subtitled Paradigm Shift. In 2004, Mille Plateaux went into hiatus, and now, six years later, it returns with a selection of fresh and glitchy sounds. Many new and familiar names appear on this compilation, like Kabutogani, Aoki Takamasa, Kiyo, Gultskra Artikler and of course, Ametsub! The release strives to deliver music ranging from “minimal clicks to IDM-/dub-ish tracks via ambient and sound art to the artcore and organic extremes”. We really hope that this is not a desperate attempt to jump start one of our dearly missed labels, and that in the years to come, we’ll be treated to more delicious sounds.



D-Bridge & Instra:mental Present Autonomic – FabricLive. 50 (Fabric)
Compiled by Darren White (aka D-Bridge) and Alex Green & Damon Kirkham (collectively known as Instra:mental), the sound of the 50th installment in the FabricLive series, travels from the depths of deep and vocal micro d&b, to hip-hop influenced dubstep and smoky intelligent downtempo. Inspired by their Autonomic club night and podcast, the mix takes that club sound into the spacey head-nodding lounges and air tight headphones. Featuring a wide roster of artists, mostly from the Exit and NonPlus+ labels, we are treated with top notch selections from Consequence, Distance, Alix Perez, Vaccine, Scuba, Meleka, Skream, Genotype and of course, D-Bridge and Instra:mental. One of our favorite compilations featuring previously unreleased tracks!



Dark Matter: Multiverse 2004 – 2009 (Multiverse)
This 24-track double disk unmixed compilation, packs a solid punch, thrown deep beneath the ribcage of the bass deprived souls. Multiverse, a Bristol-based studio and publishing warehouse, is an umbrella label with holdings on Kapsize, Earwax, Caravan, Subtext and the celebrated Tectonic. As such, Dark Matter: Multiverse 2004 – 2009, celebrates five years in dark and bass-heavy branches of all that is dubstep. Here is a selection of wobbly warrior wagers, ranging from Tectonic label boss, Pinch, to the man behind Caravan, October. The compilation kicks off with an excellent opener from Vex’d, and careens across all of the usual suspects, like Skream, The Joker, 2562, Emptyset, P Dutty, and The Body Snatchers. A great intro for the uninitiated to the label.



Dark Room Beats (Aleph Zero)
Israeli downbeat and ambient dub label, Aleph Zero, operated by Yaniv Shulman and founder of isratrance.com, Shahar Bar-Itzhak, may not have put out many releases this year, but it surely secured a spot on this feature, with their Dark Room Beats compilation. Continuing in their tradition of quality vs. quantity, this 13 track release features some of our favorite psyDM, psychill, psybient and psy-everything tracks of the year. With contributions from Krusseldorf, Omnimotion & I Awake, Vataff Project, Hiberation, Aligning Minds, Robert Rich, Minilogue, and of course, Shulman himself, the compilation aims to create an “autonomous sonic space”, designed for chilled out late nights, discerning ears and open minds. Really enjoyed this voyage.



The Explorer’s Club (LoAF)
Lo Recordgings‘ experimental offshoot, LoAF (Lo Alternative Frequencies), launched a new series this year, titled Explorer’s Club. Although each digital release is only 2 to 3 tracks in length, the entire series is available via a Subscription Survival Kit, and for the purpose of this writeup is considered as one amazing compilation release. Covering leftfield, folk, experimental, ambient, and modern classical, this cross genre series goes beyond the borders of stylistic boundaries, and travels across the globe to bring you some of the most delicate recordings to date, from Peter Broderick, Ryan Teague, Janek Schaefer, Hauschka, Nils Frahm, Jóhann Jóhannsson, and many new faces. Jump on board, join the club and let the folks behind LoAF take you on a memorable ride!



GetDarker Presents This Is Dubstep Vol.2 (GetDarker)
Feel like you missed an entire year of dubstep and need something to catch you up? Or maybe you’re sick and tired of hearing the name of the genre and want to finally hear what it’s all about? Well, look no further, because this double disk release will fill plenty of hours with some of the rising and well known stars of dubstep. The second volume of this compilation series from GetDarker features 40 massive tracks featuring Breakage, Skream, Benga, Distance, Cyrus, Caspa, Joker, Ruckspin & Planas, Ikonika, Sub Focus, MRK1, and many others! The digital release contains two bonus nearly hour-long mixes by DJ Darkside. It may not introduce the die hard fans to many new faces, but it surely collects the year’s top hits – and that’s what a great comp is supposed to do anyway.



Ghostly By Night (Ghostly International)
By now you must be familiar with Michigan’s Ghostly International label, home of American electronica, leftfield, avant-pop and more… Ghostly By Night is the second half of a double disk compilation showcasing the label’s top talent. The first part, Horizon Line features ten remixes and covers of the classic Ghostly releases, while the second part, featured in this write up, gives us a sneak peak at upcoming Ghostly material. Here we have ten exclusive tracks from Lusine, Matthew Dear, Shigeto, Mux Mool, Solvent, The Sight Below, Jesu‘s new moniker Pale Sketcher and a unique collaboration between Richard Devine & Telefon Tel Aviv. Spanning across a variety of genres spearheaded by Ghostly, this is a great intro to the label and all great music to come!



Intelligent Toys: We Make Music (Sutemos)
The sixth installment of the Intelligent Toys series from the Lithuanian net label, Sutemos, delivers yet another mind blowing compilation of experimental, ambient and electronic music. Subtitled We Make Music, this free release includes over 50 tracks, spanning over 4 hours of music! We’ve got AGF, Monokle, krill.minima, Maps And Diagrams, Jan Jelinek, MINT, Sabi, Esem, Sleepy Town Manufacture and more than a handful of debuts – I can’t possibly list all of them here! As with all Intelligent Toys, this release is accompanied by a gallery of nearly 30 images, which in itself makes this compilation a collector’s dream. So don’t delay, and experience the sound of evolving electronica for yourself! Remember, it’s FREE!



Made Of Dawn – Chapter One (Blue Hour Sounds)
Made of Dawn is the very first release from the Italian label Blue Hour Sounds, featuring many well known artists in the downtempo and psybient scene, as well as a few newcomers. Followers of psychedelic and morning trance should recognize a few names on here, such as Sebastian Taylor (Digitalis, Kaya Project, Shakta etc.) appearing here as Hibernation; Eliot Morgan Jones and Nick Woolfson appearing as Sounds From The Ground; Michael Hodgson and Paddy Free as Pitch Black; René Gundel Nielsen & Martin Spanner Zimmermann as Beat Bizarre and many others. If you’re not a fan of psychedelic music, well maybe now is the time to check it out, because this compilation is 100% FREE!!! A 128kbps MP3 version is available for download in exchange for your email.



New Blood 010 (Med School)
Med School has been on the edge of ground breaking micro-minimal drum’n'bass since it’s been launched as an offshoot of London Elektricity‘s London-based Hospital Records. This is where d’n'b meets glitchy IDM, dubstep and breakbeat, redefining boundaries as delicate cut ups, glitchstep, and half-tempo stompage. New Blood is a series designed to bring the up-and-coming artists to the frontlines before they graduate to become professional ‘sonic surgeons’ operating in the world renowned Hospital rooms. The roster of appearances includes new contributors from all over the globe: UK, Australia, Hungary, Russia, Germany and even Ukraine. Lots of unknown names are on here, but that shouldn’t stop you from enjoying this exhilarating ride.



Ninja Tune XX: 20 Years Of Beats & Pieces (Ninja Tune)
In 2010, the beloved UK label has celebrated its 20th anniversary. Much can be attributed to the music released by Ninja Tune, but as all of it can not be put into words, the label lets the music do the talking. Limited to 3500 copies, Ninja Tune released a massive box set with 6 CDs, 6 7?, two posters, 20 stickers and one hardback edition book. If you missed the boxset, the label also released some of the tracks as two volume double disk compilations, featuring all of its favorites: Two Fingers, Coldcut, The Bug, Eskmo, Daedelus, Diplo, Fink, Amon Tobin, Yppah, Bonobo, Mr Scruff, Jaga Jazzist, The Cinematic Orchestra, The Herbaliser, Blockhead, DJ Food… I can keep going and going, iterating through every name on the label’s roster. An absolute must for every collector!!!



Pop Ambient 2010 (Kompakt)
Every year, Kompakt kicks off its release schedule with an installment of its annual Pop Ambient series. Even as I write this, the label has already announced its 2011 lineup. But before we venture into next year, it’s important to celebrate the one we let pass on. In the 2010 compilation, all of the usual suspects appear once more, delivering some of their best work yet. We’ve got Marsen Jules, Brock Van Wey, The Orb, DJ Koze, Thomas Fehlmann, Dettinger, Andrew Thomas, and of course, the label head himself, Wolfgang Voigt (aka Gas). Beautifully layered with ambient pads and modern classical pieces, this release rightfully claims its proclaimed title of Pop Ambient. Feel free to shove this into the ears of your friends as an intro to the ever evolving genre.



The Reconstruction of Fives (n5MD)
Another label celebrating its anniversary this year is Mike Cadoo‘s n5MD. Turning 10 years old, the California based label takes on a different approach of summing up all of its wonderful contributions to the evolution of IDM and electronica. The compilation, titled The Reconstruction of Fives features tracks from the label’s catalog as covered by a group of specially selected artists. With contributions from Pale Sketcher, Nadja, Architect, worriedaboutsatan, Bersarin Quartett, Ben Lukas Boysen, Jasper TX, Rafael Anton Irisarri, Boy Is Fiction and Miwon, this selection of tracks features a new take on some of our favorites, with each artist’s unique signature style. This is a great addition to all of the label followers, as well as an excellent introduction to the new comers.



Scuba – Sub:stance (Ostgut Ton)
Mixed by Paul Rose (aka Scuba), the man behind Hotflush, Sub:Stance is a compilation filled with UK bass, drenched in the atmospheric and minimal sound of Berlin’s Berghain night club. Released on Ostgut Ton, the 24-track mix features some unreleased and exclusive tracks from Scuba himself, as well as Sigha, Pangaea, Untold, Surgeon, Digital Mystikz, and Joker among the many. The journey traverses through minor progressions of bass heavy dubstep until the 4/4 kick picks up the pace with its hollow punch, attributed to Surgeon’s style. And now we’re in that creepy, cold, and industrial territory of abandoned warehouses turned into clubs turned into temples of aural worship, where frequencies rise from the basement, up through the pipe organs, and drop back to the floor.



Surgeon – Fabric 53 (Fabric)
Leave it to Surgeon to mash up a grab bag of banging techno and dubstep tracks, all in one sitting. And leave it to Fabric to treat us with yet another quality mix session of the year. This is [only] a 53rd installment in London club’s series, which continues to impress us with its impeccable selection of artists and DJs. This year, Fabric released mixed compilations from Martyn, DJ T., Optimo (Espacio), Demian Lazarus and Shackleton. But it is the prolific Surgeon that wins our hearts with his banging dance floor beats. In just 70+ minutes, Anthony Child flawlessly transitions between 30 (count them!) slamming tracks. From Robert Hood, Marco Bernardi and Orphyx to Ital Tek, Scuba and Starkey, this is a mix that will get your heart rate going, while The Surgeon cuts it up…



Sync Saphir LP (Blu Saphir)
After a handfull of succesfull releases on Fokuz, Hospital, and his own, Syncopix Records, Roland Bogdahn (aka Syncopix) teams up with Jerome Roth (aka DJ-Rome), to put together a brand new compilation for their new imprint, Blu Saphir Recordings. Focusing on the liquid side of drum’n'bass, with techy minimal beats, and atmospheric pads, the unmixed compilation showcases fifteen tracks from a diverse roster of artists. On Sync Saphir LP, followers of Syncopix are also introduced to Mr Sizef, Enei, Edward Oberon, Paul B, Sobersoul and others. Dreieich (Germany) based Blue Saphir label, has been around since 2005, with only about a dozen 12?. If you’re not into the heavy wax, you can pick up some EPs through their digital offshoot, Digital Blus.


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HONORABLE MENTIONS
As I’ve proclaimed many times before – there’s just no way that I can cover all of the great music out there! There’s just not enough time, not enough money and not enough words! But if you liked any of our 20 Compilations and Mixes of 2010 as featured in Part One and Part Two, and you thirst for more great music, I can promise you that these are worth your attention as well…

(entries are listed in alphabetical order by title)
Bangs & Works Vol. 1 (Planet Mu)
Fünf (Ostgut Ton)
James Holden – DJ-Kicks (Studio !K7)
Kode9 – DJ-Kicks (Studio !K7)
Martyn – Fabric 50 (Fabric)
Night Slugs Allstars Vol. 1 (Night Slugs)
Oneman – Rinse: 11 (Rinse)
Sick Music 2 (Hospital)
Subtle Audio Vol II (Subtle Audio)
Zero T – FabricLive.52 (Fabric)

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last.fm artist and label cloud mentioned in the above post: Marcel Fengler, planetary assault, Ben Klock, Mike Dehnert, Delta Funktionen, Subheim, Broken Note, Matta, Igorrr, Bong-Ra, Enduser, Hecq, Roel Funcken, Mothboy, Detritus, Black Lung, Apparat, Juan Maclean, Kode9, James Holden, Telefon Tel Aviv, Oval, Thom Yorke, Tim Hecker, Autechre, Scorn, Four Tet, Born Ruffians, Junior Boys, Martyn, Roman Lindau, ACT, Rolando, Levon Vincent, André Galluzzi, Marcel Dettmann, Len Faki, Kabutogani, Aoki Takamasa, kiyo, Gultskra Artikler, Ametsub, Consequence, Distance, Alix Perez, Vaccine, Scuba, Meleka, Skream, Genotype, D-Bridge, Instra:mental, Vex'd, Pinch, Skream, The Joker, 2562, Emptyset, P Dutty, The Body Snatchers, Krusseldorf, Omnimotion & I Awake, Vataff Project, Hiberation, Aligning Minds, Robert Rich, Minilogue, Shulman, Peter Broderick, Ryan Teague, Janek Schaefer, Hauschka, Nils Frahm, Jóhann Jóhannsson, Breakage, Skream, Benga, Distance, Cyrus, Caspa, Joker, Ruckspin & Planas, Ikonika, Sub Focus, MRK1, Lusine, Matthew Dear, Shigeto, Mux Mool, Solvent, The Sight Below, Jesu, Pale Sketcher, Richard Devine, Telefon Tel Aviv, AGF, Monokle, Krill.Minima, Maps And Diagrams, Jan Jelinek, Mint, Sabi, Esem, Sleepy Town Manufacture, Digitalis, Kaya Project, Shakta, Pitch Black, Beat Bizarre, London Elektricity, Two Fingers, Coldcut, The Bug, Eskmo, Daedelus, Diplo, Fink, Amon Tobin, Yppah, Bonobo, Mr Scruff, Jaga Jazzist, The Cinematic Orchestra, The Herbaliser, Blockhead, DJ Food, Brock Van Wey, The Orb, DJ Koze, Thomas Fehlmann, Dettinger, Andrew Thomas, Wolfgang Voigt, Gas, Pale Sketcher, NADJA, Architect, Worriedaboutsatan, Bersarin Quartett, ben lukas boysen, Jasper TX, Rafael Anton Irisarri, Boy Is Fiction, Miwon, Sigha, Pangaea, Untold, Surgeon, Digital Mystikz, Martyn, DJ T., Demian Lazarus, Robert Hood, Marco Bernardi, Orphyx, Ital Tek, Starkey, Mr Sizef, Enei, Edward Oberon, Paul B, Sobersoul, Ad Noiseam, Studio !K7, Ostgut Ton, Mille Plateaux, Fabric, multiverse, Tectonic, Aleph Zero, loaf, GetDarker, Ghostly International, Sutemos, Blue Hour Sounds, Med School, Hospital, Ninja Tune, Kompakt, n5MD, Blue Saphir, Planet Mu, Night Slugs, Rinse, Subtle Audio]]> http://www.last.fm/user/liftmuziek/journal/2010/12/12/43khby_submit_your_best_of_2010%21%21%21 Sun, 12 Dec 2010 17:22:15 +0000 http://www.last.fm/user/liftmuziek/journal/2010/12/12/43khby_submit_your_best_of_2010%21%21%21 Well, once again, it’s that time of the year! I know we’ve got a whole month to go, but the labels have already adjusted their release schedule, and bumped up their latest catalog additions to 2011. Once again, I gather my favorite albums into a humongous pile, trying to decide how I’m going to share the best of the best with you. I think I’ll stick with my last year’s categories (what do you think?).

Meanwhile, I need your help in compiling Headphone Commute’s Readers’ Selections. Just like we did last year, I need you to submit your favorite releases of the year. This will not only contribute to your Best of 2010 selections, but give you an opportunity to share your top choices with the rest of the readers! To help me in aggregation at the end of this month, all I ask is that you PLEASE follow the following format:

(note: you don’t have to submit for all categories)
Top 10 favorite full-length albums. On each line write ARTIST – ALBUM.
Top 5 favorite compilations or mixes. On each line write LABEL – TITLE.
Top 3 favorite labels of the year. On each line write the LABEL.
Top 3 favorite new artists of the year. On each line write the ARTIST.

Submit your votes for best of 2010 releases by replying now or directly on our site:
http://reviews.headphonecommute.com/2010/12/05/best-of-2010-your-votes/]]> http://www.last.fm/user/liftmuziek/journal/2010/11/28/42n1k0_headphone_commute_reviews_and_interviews_%28year_end_roundup%29 Sun, 28 Nov 2010 23:23:07 +0000 http://www.last.fm/user/liftmuziek/journal/2010/11/28/42n1k0_headphone_commute_reviews_and_interviews_%28year_end_roundup%29 Hello hello!!! It's almost the end of the year, and I'm getting ready to set aside an ENTIRE MONTH to think about my Best of 2010 releases!!! I know it's going to be a massive one. I already compiled a Best of Modern Classical 2010 Mix and it needed to be split into two one-hour parts! So watch these pages for the upcoming Headphone Commute's Best of 2010 feature!!!

Before I set off to revisit all of my favorites, here's a roundup of TWENTY reviews for your reading pleasure, featuring some of my favorite albums of the year. Perhaps there's a gem in this collection that will make you amend your lists! Don't forget to check out our Free Mixes in our Podcast and Subscribe to RSS Feed. And seriously! Leave me a comment or two on here! I hate talking into the void! I know you're out there!!!

Here's our Podcast!!!


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Max Richter - Infra (130701 / FatCat)

Falling in love with Max Richter's music is easy. Lovers of electronica, modern classical, and simple piano music alike, follow Richter's releases, and gobble them up with their ears. The music of endless dreams and cinematic wakefulness, sprinkled with electric pulses of shortwave radio transmissions and somber tones, rises above the ground like a waterfall of fog, falling into the abyss of subconsciousness and repressed memories. Beautiful and simple melodies soar through the air with orchestral precision, neo-classical progression and heartbreaking execution. Infra is actually a soundtrack. Commissioned by the Royal Ballet, Infra is a score for the same titled ballet as choreographed by Wayne McGregor, which originally premiered at The Royal Opera House in London in November 2008. Being more than a studio album, the work on Infra is comprised of recurring themes and a central concept. The latter is inspired by T.S. Elliot's "The Wasteland", building on a travelogue of desolate lands, populated by the sounds of piano, electronics and a string quartet. Here's a quote from Richter: "I started thinking about making a piece on the theme of journeys. Like a road movie. Or a traveler’s notebook. Or like the second unit in a film - when the scene has been played, and the image cuts away to the landscape going by. This started me thinking about Schubert's devastating and haunting "Winterreise" (Winter Journey), so I used some melodic material from Schubert as a found object in parts of my new piece." I must be honest - I wouldn't recommend this album to the heart broken. The sweeping melodies will pull your soul apart and squeeze the last remaining tears from your withered heart. Saturated in sadness to the point of total and complete desperation, some of the tracks become contenders for Music for my Funeral - a collection of tracks I have been preparing for... well... that one final farewell. This is not the first score for Max Richter. In 2009, he composed soundtracks for La Prima Linea (Cam Original) and Henry May Long (Mute). His 2008 score for Valse Avec Bachir (Delabel) also included a few tracks from The Blue Notebooks (130701). All of the above, along with Memoryhouse and Songs From Before are highly recommended.

Read also Two and a Half Questions with Max Richter

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Byetone - Death Of A Typographer (Raster-Noton)

Chemnitz (Germany) based artist Olaf Bender has musically been in the shadow, as one of the co-founders of the Raster-Noton label, together with Carsten Nicolai (Alva Noto) and Frank Bretschneider (Komet). Mostly focusing on the visual presentation of the label’s catalogue, he had only produced two solo outings before offering to the world Death of a Typographer. Where his earlier projects presented us with a very abstract experience, filled with static and rhythmic clicks typical to the Raster-Noton sound, the sound of his new album shifts to a more approachable terrain. The first track quickly exemplifies this change of character. An almost danceable bass line takes hold when “Plastic Star (session)” starts, and only slows down four tracks later, when the first segment of “Capture This” sets in. Distorted tones and short stabbing percussion can not hide the melodies that encompass the songs as we move through the album. As Bender balances the distant and cold background, that has typified the label with a sound that scuffs against the techno-genre, the album really unfolds when "Rocky Soft" starts. You can quickly discern the Bretschneiderian jabs to your earlobes, accompanied by an almost funky bass that makes you want to move. “Black is Black” is probably the most accessible track of the album, with its almost threatening build up that finally melts in to the dark dystopic feel that both installments of “Capture This” convey. Rounding up with an almost Alva Noto-esque “Grand Style” and “Heart” filled with rhythmic yet dark percussion this album is something special. Created in the Berlin winter, it is very well suited for those cold days when you are still coming to grips with the fact that the summer is really gone. Play this record when you feel that there is no way you’re getting out of bed. Its energy, even though it is cold and distant, is infectious, and will have you master the cold temperatures of autumn and the upcoming winter in no time. Suited for listeners that are into the Raster-Noton aesthetics, but also listeners of Sleeparchive, SND and Pan Sonic.

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Marcus Fjellström – Schattenspieler (Miasmah)

Dark and moody, sad and beautiful, organic and ghostly, the latest album by Marcus Fjellström, Schattenspieler, is an incredible achievement, that grows on you with every listen. This morning, when I was hoping to be a little upbeat, the rainy weather changed my mood, and I gravitated towards yet another listen of the album, which translates from German as the "Shadowplayer"... Weaving an environment full of scratchy and dusty elements, orchestral arrangements reminiscent of Biosphere's Shenzhou, and sad cinematic passages of forgotten films, Fjellström creates a tense atmosphere for the psychological thriller inside your head. And the references to film-making are not an accident here. At least four tracks on the album were originally commissioned for the film House Without A Door by Bernd Behr. Marcus Fjellström is a Swedish composer and a multimedia artist, appearing on one of our favorite labels, Miasmah, for the first time. His two previous releases, Exercises In Estrangement (2005) and Gebrauchsmusik (2006), were both released by the Manchester based Lampse, which may already be known to the listeners through its Machinefabriek releases. Being a Miasmah release, the album gets treated with cover illustration by Erik Skodvin (Svarte Greiner) and is mastered by Andreas Tilliander (Mokira). Fjellström has also worked with the Swedish Royal Ballet, the Scottish Chamber Orchestra, as well as various ensembles and soloists. "Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next – the fleeting ghosts of Fjellström’s melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you’re listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music – the implication being perhaps a more terrifying experience than to be confronted outright… listen to ‘Schattenspieler’ and you may find your mind starts to play tricks on you…" Listening to Schattenspieler, you are placed in a haunted house, where the gray clouds slowly gather over the roof. Finally, after a few intense and electrifying moments, the music begins to drip, and then pour on top of your body, slowly saturating first the stale clothing, then the aching bones. Somewhere in the background a needle is left on a record, skipping on the very last groove. And as you approach a corner, the flickering light of a candle is stretching the shadows beyond their physical size, leaping between the wooden boards and yellow stained ceilings... Something just ran around the corner! Was that a giant cockroach or a starving cat? Do you dare to enter Fjellström's world, descend into the basement and find out? I keep returning to the album, and the repeating melodies begin to unravel themselves, implanting into my mind with every recognizable stab or progression. Perfectly fitting on Miasmah, Schattenspieler is a great addition to the catalog of our favorite releases on the label from Kreng, Jacaszek, Rafael Anton Irisarri, Elegi, and Jasper TX. Highly recommended!

Read also Two and a Half Questions with Marcus Fjellström

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Library Tapes - Like Green Grass Against A Blue Sky (Auetic)

It feels like David Wenngren doesn't need an introduction. But in case you have missed his previous releases as Library Tapes, I'd recommend you pick up a few of my favorites: Feelings for Something Lost (Resonant, 2006), A Summer Beneath The Trees (Make Mine Music, 2007), and Fragment (Kning Disk, 2008). There's also his 2009 release under his real name, Sleepless Nights on his own label, Auetic, as well as collaboration with Danny Norbury for the Le Lendemain project's Fires (Home Normal, 2009) and his very latest, Our House Is On The Wall recorded for the project Murralin Lane and released by the mighty 12k this year. Whew! If you go through the above, I guess that would serve as a pretty good introduction. If not - here are my words for Like Green Grass Against A Blue Sky. From fuzzy little noises over soft piano chords, to humming ambient pads, and field recordings sprinkled with nostalgic lullabies, David delivers a personal album of nine miniature compositions that should keep you cozy through the Autumn's chilly evenings. Running in length just under 30 minutes, the album is full of familiar melodies, harmonic progressions, and beautiful polished keys. With yet another appearance by Danny Norbury on the cello, the music swirls in neutral harmony, between the major and the minor, sometimes in deliberate silence, sometimes in accidental themes. Like Green Grass Against A Blue Sky is released once again on Wenngren's own label, Auetic, running in a limited edition of 1000 copies. This album also has a great story behind it... In April of this year, David lost 1200 euro in London, that was set aside for production of this release. He reached out to his fans in hope to raise enough money to cover the pressing, promising in return to credit each donor in the 'thank you' list. Of course, I have donated, and it wasn't just for the gratitude from this wonderful composer. I have been a fan of his modern classical pieces for years now, so giving back more than just these words, allowed me to get this music faster from his mind into your years. I hope you enjoy! You can also pick up digital versions of a few albums directly from Library Tapes' Bandcamp page. These are available in return for your donation of only 5 Euros or more. Recommended if you like Peter Broderick, Max Richter, Sylvain Chauveau, Eluvium and Nils Frahm. Be sure to also check out Headphone Commute's review of A Summer Beneath the Trees and our previous Two and a Half Questions with Library Tapes.

Make sure to read our latest Two and a Half Questions with Library Tapes

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Nils Frahm & Anne Müller - 7fingers (Hush)

What's great about this album, is that there was more than a few times when I had that "aaaah..." moment. Perhaps what drove me to write this raving review about 7fingers is that there were those moments one too many. On every single track. I first found out about this album when the new release from Nils Frahm popped up on my radar. But as many anticipated moments in life, that July came and went, and another two months went by before I realized that I have missed this Hush Records release. And here I was, listening to Nils Frahms's latest EP on Erased Tapes, Unter | Über, wondering, whatever happened to that collaboration with Anne Müller? And what's this genre that it's listed under - modern classical and glitch. Modern classical and glitch? What what? As soon as the second track on the album, similarly titled, 7fingers, came on, I knew that I was in for a trip down my favorite lane of clicky electronica, glitchy elements and most importantly, elegantly produced musical pieces. Here, in Müller's hands the cello cries, then hiccups, skipping through Frahm's piano notes, and dropping on the floor in tiny granulated frequencies, then re-arranging back and flying up in the reverse, into the wood from whence it came, all obsessively constrained with micro programmed beats and rhythms. The clicks and cuts are composed of chopped up seasoning, gently sprinkled over a smooth, and creamy melody, oozing with melancholy out of every pore. The album's tracks flip between the glitchy tracks that I keep rating with 5 stars, and strictly modern classical pieces, composed of experimental swirling cello work, some field recordings, and of course, Frahm's piano keys. Besides the obvious string arrangements by Müller, and contemporary classical progressions by Frahm, it's tough to tell where the collaboration comes together - where one begins and another ends - it is a single unit. Yet, for a better picture, I'd love to quote this section from the press release: Two heads, four hands, 7 fingers that want to and are able to, that search and that find. Their company are raging and resting machines, algorithms, oscillations and scratches at the window. They create the broken orchestra, the smooth club drive, the acoustic reflections, fireworks, tiny gramophones. „7fingers“ dissolves into sound, combines into rhythm, becomes pulse and motion and sleep and acceleration. Nils Frahm and Anne Müller, cello and piano and all that is good and music. And what is this Hush label? I am embarrassed to admit, but the only artist I seem to recognize from the roster besides Nils Frahm is Peter Broderick. In fact, there's a "free gift" from the two artists titled, Two Tracks, available as a free download directly from the Hush shop. But with over 60 releases, this Portland based label, seems to keep on pumping beauty out of its heart into ours with a great tagline: "Not so much a business as an unstoppable force of nature, not so much a label as a shield, not so much a publisher as a conduit, not so much an enterprise as an uprise, not so much commerce as community, HUSH is here to BRING IT." I've listened over half a dozen times since I got 7fingers, and I can't stop listening!!! I can't recommend it more for followers of glitchy goodness, like Lusine, Ametsub, Arovane, and the beautiful Yasume. Intoxicating and delicious!!! And while you're dropping this into your shopping cart, be sure to grab the latest from Peter Broderick - How They Are released by Hush as well!

See also our Two and a Half Questions with Nils Frahm

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Melorman - Out In A Field (Symbolic Interaction)

Before I dive into this melodic and emotional IDM album, I want to talk about the label. Symbolic Interaction is an independent label run by Kentaro Togawa out of his hometown, outside of Tokyo, Japan. Togawa started the label in 2007, and in the last three years released about twenty five albums (Out In A Field is cataloged at SIC024). I first came across the label upon hearing Rudi Arapahoe - Echoes From One To Another (2008). The following release was by my all time favorite glitch masters, Funckarma - Psar Dymog (2008), and then Ard Bit's - Spanon (2009) shook me a bit off balance. So, it's no wonder that I'm keeping my tabs on Symbolic Interaction. Now on to Melorman. Antonis Haniotakis is an Athens (Greece) based electronic music producer with smooth undertones and clicky downtempo beats, who previously released digital EPs on netlabels, such as Summer Rain Recordings, IVDT, and Archaic Horizon. Thus, Out In A Field is Haniotakis' first physical release. His sound is a combination of silky synth lines, hazy soundscapes, and relaxed intelligent percussion. His music is reminiscent of laid back sounds of Boards of Canada, Tycho and Arovane. Hmmm. That should get you excited. Words like 'atmospheric', 'melancholic' and 'cinematic' are begging to find their way into this review, but the music of Out In A Field speaks louder than my words. Personally, I miss music like this. Emotional electronica can not exist without the music that evokes emotion. And on Out In A Field, Haniotakis does just that. Painting a relaxing atmosphere of summer car rides, hammock swings, and morning walks, perhaps somewhere out in a field, with a touch of vocal contributions from Helen Day, Melorman evokes those melodramatic melodies that mellow all the melancholy thoughts away. If you like this sort of sound, be sure to pick up a three-track free digital EP, Expressing Thougths, out on Archaic Horizon. And don't forget to check out Symbolic Interaction's latest release from Melodium, titled Palimpse.

See also Two and a Half Questions with Melorman

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The Black Dog – Music for Real Airports (Soma)

Paying homage to Brian Eno's ambient masterpiece, Music for Airports (Polydor, 1978), which Eno created for the whole purpose of being played in actual airports, to convey calmness and reassurance to the passengers about to set off on an airborne journey, The Black Dog set out to create their own version, designed for real airports. But, unlike Eno's version, this album is "not a utilitarian accompaniment to airports, in the sense of reinforcing the false utopia and fake idealism of air travel". The album is a pristine selection of beautiful tracks, with an overlay of field recordings collected through the three years of the group's tour travels. And instead of conceptual and abstract, The Black Dog delivers a cinematic and very personal album, that will captivate you in any surrounding. To further elaborate on the contrast between the two works, here's a Brian Eno quote from a TV interview: "One day I was sitting in this beautiful airport, Cologne airport. It was a Sunday morning and the sun was streaming in. It was the most beautiful piece of architecture... And the most idiotically stupid pop music playing... You put all this attention into the architecture and the ambience in every respect except the music. What is the music? It's what some person's brought in that morning and stuck in a cassette player... So I started constructing in my mind what would be the right music for the airport." In general terms, Eno's view was that the music should communicate a feeling rather than a narrative, and that it should be soothing. It should help people feel comfortable and resign themselves to the inconvenience and ultimately disconcerting nature of air travel. The Black Dog take a different approach. Based on over 200 hours of field recordings at airports, Music for Real Airports is not a record "to be used by airport authorities to lull their customers." Rather, it embraces the underlying fear and anxiety and revels in it. "Wait Behind This Line", for example, is a gloomy death march, a bottomless pit of despair and hopelessness. In other places, the album swings the other way and captures the excitement and sense of adventure that airports can also evoke. On the whole, it's an engaging album. I'll save my breath in covering the history of the group. I trust you can point your clickers to their Wikipedia entry for all the details. But in case you didn't know, the group was originally founded by Ken Downie, Ed Handley and Andy Turner, and were one of the founding figures of IDM as a genre. Handley and Turner set off to create and focus on Plaid back in 1995, while Downie was joined by Martin and Richard Dust to continue the legacy, that, in my opinion, is only blossoming... If you missed the group's earlier releases, pick up Radio Scarecrow (Soma, 2008) and Further Vexations (Soma, 2009). In contrast to Music for Real Airports the above mentioned are more beat oriented albums, falling into the techno genre, as defined by The Black Dog's original style. Be sure to also check out the mixes that The Black Dog regularly make available on their website. The latest - Drifting Ambient Mix May 2010 - is a doozie. Recommended if you loved the ambiance of Lusine ICL's Language Barrier (Hymen, 2007), Arovane's Lilies (City Centre Offices, 2004), and Autechre's Amber (Warp, 1994). As I'm writing this review, I'm on my fifth listen of the album, becoming more and more convinced that it will go down in history as one of my absolute favorites.

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Architect - Consume Adapt Create (Hymen)

While other Architect albums have been somewhat minimalist affairs, Consume Adapt Create is crammed full of sounds... individual and myriad in number, placement and aesthetic. You might have wondered what happens when Daniel Myer is placed in a creative vacuum and allowed free reign to run as far as his imagination will take him. This is the concrete evidence of where it goes. 'The Shadow of Eve' is the only hint I am going to give for this record. It's breakneck pace should confound and contuse any PA it is played through. Myer weaves in melodic lines throughout it, a hi-hat roll here... a syncopated break sped up to maniacal pace there. Power restored indeed. The connection to previous work could best be ascribed to his track 'Sir Alfred'. Suspense drum 'n' bass is alive and well. There's been a remix contest for this tune initiated by the band, it's no accident this track was the one chosen. You have not heard him push it this far before. One gets a healthy inoculation of atmosphere on this record, sure, there are alien peel offs into sci-fi land but more often than not it's the overall composition which unleashes this tone. Consume Adapt Create is all about this somewhat elusive aural currency. Van Delta's album 'Studio Reality' is the only thing which comes remotely close to the end result of this and even it didn't contain as many changes in tempo or emotion. Myer somehow manages to squeeze a lot of feeling out of his machines, a feat few others have pulled off convincingly. It is as though a part of him has been subsumed and re-patterned in an electronic exorcism of sorts; it's a lot to ask of the listener, I know, but the pay off is that by the time you do finish listening... the world is pleasantly askew. He's spent his time very wisely creating some masterful electronic scenes if this is the right word; each song is a soundtrack to places we have never been and worlds we never suspected existed. Christmas may have come late but at least it showed. If you were to take Galactic Supermarket and heap on the maturity accumulated in the last twelve years by this musician you'd have a small measure of the majestic heights Myer has encapsulated here. Unlike that record, though, there's a lot more flesh on the bones. He knows his sound design almost too well. All the time spent in the trenches of Haujobb's love/hate existence with it's fanbase was not undertaken lightly, neither was this record.

Read Two and a Half Questions with Architect

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DeepChord Presents Echospace - Liumin (Modern Love)

I am always hungry for new music. I think I continue to consume the sounds, so that I can recreate that moment. That moment of when one hears that sound, and is taken away out of this world into another. That moment, reminiscent of your childhood memories, when you would put on your headphones and melt away in the hypnotic beat beyond all thought and worries. It is the music you would turn to, for answers and escape. Remember? I do. And so I search, among the hundreds of albums, for the one that would bring back those memories, and take me to that place. What can I say? I think with Liumin I have found it. Big thanks to Rod Modell and Stephen Hitchell of echospace [detroit]. First of all, I think it's a huge plus, when an album seamlessly transitions from one track to another. That solidifies my reasoning for listening from beginning to end. The tracks flow smoothly, in that velvety, dubbed out, and incredibly hypnotic beat. The duo is not apologetic for letting the tracks evolve over the ten minute marker. Although some may find this rolling rhythm a bit repetitive, I think that it's only after the first six or seven minutes that the mind latches on to the beat and new environments unfold. If there was a science behind this process, then Hitchell and Modell should base their thesis on their work, their magic, and their art. Incredibly simplistic, yet awesomely complex percussion is drenched in vaporous white noise, as it envelopes the chords that swirl around in the stereo field of infinite dimensions. Complimented with a touch of field recordings captured by Modell in Tokyo, Japan, the kick trends on, falling out of the foreground of the typical warehouse sound system, into the ether of organic pulse. For me, the absolute masterpieces on the album include "BCN Dub" and "Maglev". The latter, in particular, takes me to a mysterious place, elusive in its existence, with hidden doors and passages that only open up somewhere in the middle of the track. Liumin is the duo's second full length album, releasing under the alias DeepChord Presents Echospace for Boomkat's Modern Love. Of course, both have been pretty active in their Chicago and Detroit dub techno scenes. Rod Modell has recently released Incense & Black Light Plop, 2007) and a two-track 60-minute dedication to Michael Mantra (Silentes, 2007), while Stephen Hitchell has been busy releasing remixes on Kompakt and Echocord as well as his critically acclaimed 2009 beauty, The Seduction Of Silence on echospace [detroit]. Together, they have been making quite a splash on the scene of dubbed out minimal beats, specifically after the absolutely incredible The Coldest Season back in 2007. This double-disk release, contains a bonus 80-minute CD with the original field recordings from Tokyo. This second place is only accessible after you've made the journey through the hollow caverns of Liumin, revealing itself like a secret garden hidden deep beneath the earth. This is indeed a surreal, almost narcotic, experience, which, like that most treasured childhood memory, is a momentous trip. Move over Basic Channel, and let the boys from echospace impress you for a change.

See also Two and a Half Questions with Echospace

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Akatombo - Unconfirmed Reports (Hand-Held)

From the mysterious depths of Hiroshima, Japan, arrives an inconspicuous, yet meticulously packaged 10" square packet. Inside is a hand-numbered elaborately printed envelope containing two photographic prints, two random newspaper clippings (I've got a photo of an Italian train station, and a shot of an Asian artisan), and a full length album from Akatombo, titled Unconfirmed Reports. But that's not all! There's also a bonus DVDr with three promotional films featuring music from the album. So why do I begin my review with a description of the packaging? Because the presentation and the appearance of the album plays a considerable role in its initial impact and the overall appeal. How serious are you about your music? This is Paul Thomsen Kirk's sophomore full length release. His debut, Trace Elements, appeared on the London based Swim~ label, in 2003. With this very first catalog release, Kirk propels his very own Hand-Held Recordings, onto the underground electronic music scene. Your attention is grabbed from the very first track, "Friend For Hire", which has a dark, almost industrial, hollow rhythm, a la Pan Sonic and earlier Autechre. Aha! Do I have your attention now? Well, read on... Unconfirmed Reports is a dark, almost gloomy affair, at times sounding tormenting with its brooding guitars. But beneath the layers of thick pads, punctuated with carefully selected percussion, lies an audio/visual travelogue "as seen through the warts-and-all tinted-spectacles of" Paul Thomsen Kirk. More from the press release: "From skimming the surface, to trawling the dank underbelly; the daily minutiae of life in a large Japanese city is duly presented in all its garish hues and faded glories. Accessing all areas, and dispelling numerous urban myths along the way, 'Unconfirmed Reports', allows you, the willfully willing participant, the perfect opportunity to immerse yourself completely in a thoroughly enticing, 360-degree, technicolour, sonic adventure." And a few words about the videos, if I may. These are extraordinary short pieces, which already had numerous screenings at notable Independent Film Festivals around the globe. Along with the nine-track album, Unconfirmed Reports is an excellent addition to any follower of electronic and experimental music. Especially if you're in the mood for post-apocalyptic, urban alienation, and social exclusion themes. Usually, in this portion of my review, I list a few similar artists, but for the ex-pat Scotsman, Paul Thomsen Kirk, it's tough to pick the closest ones. And that's a good thing. Check out something new, for a change.

See also Two and a Half Questions with Akatombo

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Roel Funcken - Vade (Ad Noiseam)

Here's my remedy for a sleepy brain. A shot of caffeine with a touch of Funcken in my headphones. First the mixture goes down easy, drifting in and out of my peripheral hearing - then the beat latches into the neuron receptor, and unlocks its secrets with a click. Roel Funcken is one of the Funcken brothers, together releasing as Funckarma, Quench, Shadow Huntaz [as well as half a dozen other monikers]; and Vade is Roel's very first album as a solo artist. Vade is released on Ad Noiseam, where the brothers have already released Dubstoned Vol 2 back in 2008. This album marks a full on crossover between glitchy IDM and gritty dubstep. Delicious. Packed with 16 intense tracks (averaging about four and a half minutes each), Vade is a deconstruction of smooth flowing dubbed out beats, with that familiar Funckarma style. Bringing to the operating table an arsenal of razor sharp DSP tools, Roel cuts deep into the harmonics, pulling out coiled frequencies while keeping his eye on the rhythm monitor. The beat staggers, then skips into the oscillating pattern, spewing out old skool 909 percussion, and leaving stains all over the floor. And just as the melody seems to choke, smothered beneath the metallic wires and valves, Roel shocks it with his sonic defibrillator, giving it another reason to soar, out through the window and into my brain. [I write this as I listen to the title track, Vade, and if these words seem abstract, you must hear the music.] Let me be honest - in my selection of boundary pushing electronic music, the Funcken sound is at the top. Without actually rating the music, it stands alongside output from Autechre, Hecq, Gridlock as well as Deru, Lusine, Proem and Loess. This is that crunchy, glitchy IDM sound that I've fallen in love with from the early days of n5MD, Neo Ouija, and Merck (RIP). Among the latter, only n5MD seems to be still kickin' [still waiting on the return of Neo Ouija], while the Funcken brothers find their albums released by Symbolic Interaction, Skam and thankfully, Ad Noiseam. Music like this deserves to carry on the legacy, as well as the flagship of experimental and ground breaking sound. Let me put it another way - when people ask me for the top notch electronic sound, I always say - Funckarma. And with Vade, I am able to single out Roel as the force behind group. I wonder if Don is working on an independent release - doesn't seem that Vade had any of his input. It does appear, however, that Cor Bolten (who previously worked with the brothers as member of Dif:use and Legiac), has heavily contributed to this release. In the album credits, he appears as a co-writer and a synth player (Jupiter4, Jupiter 8, Arp 2600, System 100, Monopoly, and others) on half of the tracks. I also see an appearance by TJ Dimoon and one of my favorites, Reimer Eising, aka Kettel. And while Roel split off into a single entity in Vade, it doesn't mean that the Funckarma project is over. The brothers will continue releasing EPs in their Dubstoned series on Eat Concrete, with vinyl coming out this summer. Be sure to pick up some of my most treasured Funckarma output: Bion Glent (Sublight, 2006), Hip Hop Instrumentals (FUNCK Music, 2007), Vell Vagranz (n5MD, 2008) and Psar Dymog (Symbolic Interaction, 2008). Really like the last one, although I keep buying a corrupted digital copy with annoying 4-5 sec silence before each track in this continuous play album. Oh well - it's still worth it!!!

See also Two and a Half Questions with Roel Funcken

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Scuba - Triangulation (Hotflush)

It begins with Descent. A slow, quiet, and eerie slide of minor chords into a track that kicks off the album, followed by Latch, a light syncopated beat with rolling bass, organic strings, and ghostly vocals. Scuba's latest release, Triangulation, is more than a collection of tracks - a few have previously appeared as 12" EPs - it's an intelligent headphone experience of lush atmospheres and dub influenced environments. The tracks evolve and carry forward their themes, blending from one to another, locking your mind into the hypnotic rhythms of Scuba's staple sound. Let's rewind a bit to 2003. This is the year when Paul Rose founded the now famous Hotflush Recordings. On it he released about a dozen of 12" under his Scuba alias (see Catalog numbers with SCUBA prefix), as well as his first full length, A Mutual Antipathy (Hotflush, 2008). And I'm not even counting a few 12-inchers on Abucs (Scuba spelled backwards), a sublabel of Hotflush. Triangulation is Rose's second full-length release that breaches a classification of genres, which I would almost classify as ambient two-step meeting minimal techno in the abandoned tunnel of dub. On the title of the album, Rose hints at the blend of genres: “It’s basically the three central musical ideas of house/techno, dubstep and this weird drum ‘n bass stuff. These were the three inputs, if you like." And that's not a surprise. Having lived and performed in Germany as of late (Rose runs a monthly event at Berlin's Berghain), the sound of minimalism has clearly crept up into his production. That includes a few four-to-the-floor stomping tracks in the spirit of Berlin's sound, as well as crystal clear and tight production wrapped around the low frequencies of rumbling bass. If you're only waking up to dubstep, it's time for you to whip out your wallet and add a few albums from the label's catalog. The highlights of the label's roster include Pangaea, Untold, TRG, Boxcutter, and Sigha. Oh, and don't forget to check out out Joy Orbison and Mount Kimbie! Be sure to also check out the label's Podcast, for which you can subscribe to on iTunes

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Access to Arasaka - Oppidan (Tympanik / Spectraliquid)

Once introduced to that delicious, sweet nectar, the addict constantly searches for more. Just another hit, another bump, another tweak to get one smiling. In my case, the choice of drug is music. Whether it be a melodic harmony within the player's piano keys, or nasty glitch within his framework - I ... WANT ... MORE! Hungrily consuming every minuscule release by a handful of favorite artists, I'm also on the lookout for new names. Who will be the next dealer of bliss, of poison, and of true love? Yessss... Give it to me... Inside these headphones, a digital structure gets transformed into a swallowed pill, an inhale of ambiance, a prickle of a crunchy beat. A newcomer to the scene, Access to Arasaka wishes to remain anonymous, hoping to have his real name "erased like unwanted hentai pictures on a 3.5 floppy disk." With Oppidan, his unique output has been finally picked up by Tympanik and Spectraliquid in one shot. Prior to signing, he has released a few digital EPs all on his own: Korova EP (2006), Cassiopeia (2007), and Vessel EP (2007); with a few additional free releases on Danish illphabetik net label: METAX (2007) and :Port (2008). Oppidan is his debut full length, featuring vocal contributions by Beau Jestice and Jamie Blacker (aka ESA). This is the delicious clicky, crunchy, and super melodic IDM that your brain has been craving. Luscious pads, modulated synths, and sporadic percussion will keep you at the edge of your seat, as you attempt to hold on to the kaleidoscope of sound thrown up in the air like abstract confetti, only to be arranged back into intricate designs before it lands on the floor. And this incredible intelligent complexity is what makes Oppidan an exciting and entertaining listen that begs for multiple returns. It's like finally solving a challenging puzzle that only reveals to you one side at a time. Highly recommended if you are a fan of Gridlock, Kattoo, Hecq and the purveyors of digital organisms that eat through the neural network of your brain. Be sure to check out AtA's entertaining Matrix-like geeky web site where you can also download his latest digital EP, ==null for FREE.

See also Two and a Half Questions with Access To Arasaka

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Milhaven - Milhaven (Valeot)

I remember when I first discovered the sound of post-rock with the inevitable introduction to Godspeed You! Black Emperor. And I thought that I'd never get into 'rock' music. Since then, I dug through countless albums, each with their unique elements, building up on the foundation laid down by the masters. I don't want to say that after a while the sound got dull. That would be the wrong word. Nevertheless, it just stood there, still, in all its beauty, unhindered by change. The formula staked into the stage and jagged by every band in different directions. But always bouncing back to the original sound. And the problem with that is that you either sound like the originals, or you don't. Which one would you prefer? Enter Milhaven - a four member band from Bochum, Germany, consisting of Christoph Freudenberg, Jens Reichelt, Hannes Zagermann, and Andreas Fanter. Milhaven doesn't care about being labeled, or further experimentation, or ... that always sought out individuality... They just care about making great music. And if it means that their sound is more traditional, and in a sense classical, then so be it. Perhaps that's precisely what makes it sound so fresh - finally someone recording great post-rock with zero regrets. This is the band's second full length release, self-titled Milhaven, after the debut Bars Closing Down (12rec, 2004) and I. M. Wagner EP (12rec, 2006). A quick note here for the collectors - the aforementioned music was released on German 12rec net label, which means that you can download the music legally for FREE! And the music is worth your time! Beautifully crafted guitar riffs and melodies soar above precision controlled drums, and just enough reverb to create that floating feeling... Unapologetically delicious flashback to the warm currents of nostalgic 90s. Flawlessly executed. Recommended if you like Mogwai, Explosions in the Sky, Mono, and Stars of the Lid. Milhaven is released on Austrian Valeot Records, owned and operated by Alexandr Vatagin, who also introduced us to Port-Royal's Afraid To Dance (Resonant, 2007 / Valeot, 2008). Be sure to pick up Vatagin's own release, Shards (Valeot, 2009), as well as releases by a band Slon [where Vatagin is also a member] - Antenne (Valeot, 2009) and Nachtnebel (Valeot, 2009). Keep your eye on this label for more solid output to come. This album is limited to 500 hand-numbered copies in a hardback cover, available in the US through n5MD, and in UK through Norman.

See also Two and a Half Questions with Milhaven

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Wisp - We Miss You (Rephlex)

Wisp makes laptop music in the same way an armorsmith fashions plate mail, with structural integrity and superb craftsmanship. For the huntsman, it deflects the arrows of the enemy and makes thorny underbrush traversible. For the artisan, it speaks volumes of the wearer's lineage, a coat of arms woven into the filigree. It is a noble work. After all, dragons don't slay themselves. Drawing from his personal experience in the wilderness of Niagara Falls and his reverence for medieval fantasy, Reid Dunn (Esq.) has, fresh from the adventure of his LP The Shimmering Hour (Rephlex, 2009), bestowed us with another chapter in his ongoing braindance epic. We Miss You is Dunn's third release from Rephlex, and has been made available digitally, though it may as well take the form of ink on dried parchment. In this scrolling screed is a collection of bard-y ballads and honour beats, delivered sometimes in haste ("Pogonip"), other times in requiem ("Four Thistles") and even in jest ("Happy Sneakers"). When all appear on a single track ("Moss On Stone") the result is pure wonder. Like his contemporary Benn Jordan (The Flashbulb), Dunn is at home in his element, never once letting formula get in the way of personal expression. What comes through in the music can best be summed up by the six D&D attributes : strength, dexterity, constitution, intelligence, wisdom and charisma. Wisp's character levels up with each album. Recommended if you also dig Kettel, µ-Ziq, Ochre, Squarepusher and of course, AFX. It's about time that Dunn got signed to Richard D. James' Redruth (UK) based label, Rephlex. Welcome home.

Read Two and a Half Questions with Wisp

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Hammock - Chasing After Shadows... Living with the Ghosts (Hammock Music)

I know that an album is timeless, when after many years I return to it, and it still sounds fresh. Not only does the sound not age, but I feel like I should tell everyone about it all over again! And the music... it slowly hovers over the roofs of the sleepy houses, swirling down the chimneys into my cold morning room, and slips into my mouth with the steam of the freshly brewed coffee... This soaring quality is the staple sound of Hammock. I first became aware of the band with their 2006 release, Raising Your Voice... Trying to Stop an Echo. There is a special quality to that album. Like an old friend, it can bring back the eternally haunting feelings of belonging with a simple gentle hug. The fourth LP by Marc Byrd and Andrew Thompson, Chasing After Shadows... Living with the Ghosts, is a follow-up to the duo's Maybe They Will Sing for Us Tomorrow (Hammock Music, 2008). Hammock returns with the multi-layered, reverb-heavy, sonic drifts, blending organic ambient with shoegaze and skydrift. The guitars again play as the foundation of every composition, complimented with the resonant voices of strings and subdued percussion, ready to lift you above the trees and let you fall with leaves and the warm summer breeze. Washing away the edgy remainders of last night's bad dreams, Hammock paints a soundscape of pillow-soft meadows, deep ocean breathing, and boundless time. These ethereal lullabies are perfectly accented with track titles like "In The Nothing Of A Night", "The World We Knew As Children", and "Something Other Than Remaining". In addition to the six-panel digipack, the album is released as a limited edition book collaboration with photographer Thomas Petillo. This hardback volume, North West East South, includes a four-track ambient EP. Make sure to also pick up Hammock's prior releases, The Sleep-Over Series (Volume 1), and Kenotic (Hammock Music, 2005). Chasing... is quickly rising to the top of my favorite albums of the year so far... Highly recommended for the followers of Lights Out Asia, Port-Royal, July Skies, Stars of the Lid, and The American Dollar. This is music for driving with the top down in the back country. This is music for meditating on a cliff above the ocean. This is music for chasing after shadows... and for everyone one of us, living with the ghosts.

See also Two and a Half Questions with Hammock

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Loscil - Endless Falls (Kranky)

It begins and ends with rain. But when the waterfalls subside, a picturesque landscape reveals itself through haze and fog. Vast fields of textural sound unfold beneath the soaring heights, with a slight pulse of bass vibrations, originating from the unexplored depths, and an echoing muffled synth line, dying in the cavernous emptiness of this landscape. With a microscopic nod to dub, Loscil weaves sonic parachutes that lift up beyond the clouds and slowly coast down to earth, only to have it curve beneath them, in an endless fall. Endless Falls is Scott Morgan's fifth full length album on Chicago's Kranky, not counting the digital freebie, Stases, released out by a net-label, One. Endless Falls also comes on the heels of Strathcona Variations digital EP, released by Ghostly International in October 2009. I was sure that the follow-up full length was going to be put out by Ghostly as well. But, alas, Morgan returns to Kranky, which has been the home for his last four albums, Triple Point (2001), Submers (2002), First Narrows (2004) and Plume (2006). Since Plume, Morgan has been busy developing his ambient soundscapes, complimenting looped drones with subliminal melodies and modulated bass. The intricately designed dense textures wrap one's unoccupied consciousness in melancholy, sadness and reflection. The mood fluctuates the listener from wakefulness to hypnotic dream states, crackling and clicking with stripped down rhythms and wet minor pads. On the last nine minute piece, "The Making Of Grief Point", Morgan features a long spoken word piece by Daniel Bejar (member of indie band, Destroyer, for which Morgan plays the drums and saxophone), delivered softly and deliberately, over a pulsing tone and walking synth notes through an unresolved chord. This is the first time Loscil brings vocals of any kind into his work. About this choice, Scott Morgan states: "The collaboration with Dan made us both incredibly nervous. Dan felt out of his element doing 'spoken word' but rose to the challenge. I felt self-conscious about changing the listening perspective from abstract, ambient music into foreground, conscious listening. The first time I heard Dan's voice recording I was terrified and was tempted to call the whole thing off. I listened to it a few more times and it completely grew on me. Now I can't imagine that piece without his performance. I love Dan's use of words, his vocal rhythms and the intimate intensity of his voice." Additional collaborators on the album include the return of Jason Zumpano on piano, Kim Koch on strings and Robert Sparks on bass recorder. Scott's four year old daughter, Sadie, is responsible for providing the cover art for the album, taken from the backseat of the family car. Check out an interview with the photographer on Loscil's Blog. Endless Falls is incredibly gorgeous, sublime and subtle yet precise. Recommended for fans of Pole and Gas, as well as Stars of the Lid, Christopher Bissonnette and Tim Hecker. "The answer to the making of grief point is picnic baskets filled with blood."

See also Two and a Half Questions with Loscil

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Marsen Jules - Yara [remastered] (Oktaf)

My Reflections on the music I listened to one, two and three years ago, has guided me to revisit previously loved albums by Marsen Jules: Herbstlaub (City Centre Offices, 2005) and Les Fleurs (City Centre Offices, 2006). While I was digging through my collection, attempting to dust off these gems for yet another rotation, I noticed that they were missing from my library. So I had to go ahead and purchase them [again?]. Oh, and what's this? An album originally released on Thinner's sublabel, Autoplate, has been remastered and re-issued! I vaguely remember this 6-track digital release by Martin Juhls from 2004 as a digital modern classical marvel. So it's no surprise that I jumped at the opportunity of upgrading it to a remastered version. With two bonus tracks, that extend the original release by 22 minutes, Juhls brings back his masterfully woven neo-classical pieces that gently loop to the singing of organic instruments. The sources of the original acoustic recordings, as manipulated by Juhls, come from a classical trio Yara. Field recordings of atmospheric elements softly sway to soft piano phrases and the tender strumming of Meike Rath's harp. Occasional pads swell up in the background and exhale into the soundscapes of oscillating delays and ghostly vocals. The composition's building blocks slowly build up, then drop out, disintegrate, and rise into thin air, gradually evaporating, to become one with breath. It's easy to become lost, entranced, and saturated by the light aural fog surrounding your mind with this enchanting meditation. Yara is being released by a mysterious Oktaf label - "a place for authentic music and art", owned and operated by Martin Juhls himself. Kicking off the label's existence with a remastered edition of Marsen Jules' another wonderful work, Lazy Sunday Funerals, the label plans on releasing ambient, electronica, contemporary classical and modern jazz albums. Maybe we will see the City Centre Offices releases being remastered as well... Be sure to pick up Juhls' previous releases on Kompakt, Miasmah and Genesungswerk. And don't forget Juhls' deeply submerged dub ambient aquatic exploration, Nautica, released under his krill.minima alias on Native State Records back in 2007. Recommended for fans of Julien Neto, Klimek, Ryan Teague, Deaf Center and Rafael Anton Irisarri.

See also Two and a Half Questions with Marsen Jules

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Tim Hecker - An Imaginary Country (Kranky)

Released exactly a year ago, An Imaginary Country by Tim Hecker continues to satisfy my aural cravings. From persistent nonchalant two note passages dispersing in reverb, to pulsating bass undertones accented with frequency thick chromatic chords, and concrete layers of sonic treatment placed in all strategic places, designed to hold this fragile structure erect, the architectural plans behind this album are as solid as that of a monumental building, rising skywards past all of the clouds, remaining one of the attractions, long after its creator is gone. An Imaginary Country is the sixth full length album by this Canadian based musician and sound artist. His discography stretches back a decade (back in 2000, Hecker was recording under the alias Jetone), with numerous releases on Kranky, Room40, Mille Plateaux, Alien8, Staalplaat, Fat Cat, and Force Inc. Hecker is focused on "exploring the intersection of noise, dissonance and melody, fostering an approach to songcraft which is both physical and emotive." Performing at many international festivals (including Sónar and Mutek), creating sound installations and commissions for contemporary dance pieces, Hecker has sculpted a staple sound of provocative ambient, too intelligent to fall in the background. In a shadowy corner of the construction of this imaginary region, a distorted guitar attempts to break free of its chain-hold, only to be restrained with silenced and muffled with noise. The walls of this dwelling are thick and fuzzy, sometimes letting multiple tracks blend into each other seamlessly, until you arrive in a different place. "Borderland" rips through the constraints, like the shattered memory of a long loved melody, released in a solitary cell to bounce between the walls in a perpetual echo, crying on the final path of its demise. On "Utropics" a distant singing of haunting voices mesmerizes the mind until it is cut with another onslaught of wailing guitars and drifting mid-range saturations of "Paragon Point". From the label's press release we gather a few interesting notes: The title comes from a quote, "The imaginary country... one that cannot be found on a map," uttered by Debussy in regards to the sad state of musical affairs at the time, arguing that music was in dire need for alternate worlds of possibility. In some ways this is a utopian work, in the sense of the term meaning that of 'no-place'. All the tracks are landmarks in a dream cartography. Released on Chicago based Kranky, An Imaginary Country has already been hailed to critical acclaim, including a spot on Headphone Commute's Best of 2009 : Music For Bending Light And Stopping Time. Be sure to check out his previous release, Harmony In Ultraviolet (Kranky, 2006), as well as his collaboration with Aidan Baker, Fantasma Parastasie (Alien8, 2008). His 20-minute EP, Norberg (Room40, 2007) is also a worthy addition to anyone's collection. Recommended if you like Fennesz, Belong, Stars of The Lid, Loscil and Lawrence English.

See also Two and a Half Questions with Tim Hecker

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Sam Amidon - I See The Sign (Bedroom Community)

In 2007, I had the luxury of traveling to Cuba for a vacation. I arrived with no real plan other than to try and fit in as much as possible and in order to do that I needed a car. Fully expecting to ride the 1950s Chevy that is synonymous with Cuba, I of course ended up with a brand new, bright red, 2007 model Volkswagen. Now, what on earth has this to do with the excellent new record from Sam Amidon, I hear you cry? Well, whenever I reminisce over those journeys through broken roads and dense vegetation I’m always reminded of the track “Head Over Heels” which Sam so beautifully covered on his LP, But this Chicken Proved Falsehearted (Birdwar, 2007), which had been released at the time and was on repeat in the car stereo. It also seems appropriate to mention this brief insight into my Cuban adventure as, reflecting on this now, the image of a shiny new motorcar juxtaposed with the crumbling backdrop of Cuban villages does to some degree allude to the sound Sam has mastered so perfectly. His ability to mesh the old with new, to breathe freshness into trusted and forgotten folk tales is taken to new heights on this latest record, I See The Sign. Staying true to the formula found in Sam’s aforementioned 2007 LP and also in 2008’s All Is Well (Bedroom Comunity), this new record largely comprises of old-time melodies and lyrics, with children’s singing games common throughout. Where “All Is Well” built upon his sound, adding horns and string arrangements to bring a greater sense of depth to the instrumental constructions of his work, “I See The Sign” evolves this sound significantly. Calling on a host of collaborators including multi-instrumentalist Shahzad Ismaily, the prolific composer Nico Muhly, and the charming support vocals of Beth Orton, on “I See The Sign”, Sam groups this talent together and outputs a collection of songs bound together by a passion for musicianship. Whether it be the joyous harmonies between Sam and Beth, the spine tingling string, brass and woodwind arrangements that Nico lends to the tracks or Shahzads’s expansive contributions there is a sense of total unison here between all contributors including of course producer Valgeir Sigurðsson. In fact, never has the name of a record label been so apt at summarizing the sense of togetherness that this album provides for it is a real feel of community that one experiences when listening to this Bedroom Community release! So what of the songs themselves? I was initially taken back by “Way Go Lily” when I first heard it performed live in January. To hear it again in fully produced form is fantastic. This is one of the examples of the children’s singing songs originally popularized by Georgia Sea Islands songstress Bessie Jones. For Sam’s reimagining his delicate guitar strumming is supported some truly remarkable work by Nico Muhly on strings and horns, while Beth Orton’s echoed harmonies are just delightful. Similarly on “Johanna The Row-di” Beth lends continued support to the vocals, with contributions here also from Shahzad Ismaily. It is worth mentioning that amongst all these joyful songs, there are still a host of melancholy numbers that lend themselves so well to the Sam Amidon sound. Songs like “Kedron” and “Rain and Snow” are poignant reminders that indeed not all is well. However the stand out track for me has to be “Relief.” Covering a song by R. Kelly is risky not just in transferring it to a completely different genre, but there is also a danger of it appearing as a gimmick. Fortunately Sam and his pool of talented contributors successfully recreate this number so much so that one would have no idea of its source. In summary it really is hard to fully convey the success of this album. Over the brief time I’ve had with it, I’ve wanted to grab the person nearest me and give them a massive hug. It’s not only uplifting, but the songs here are ones that feel like they need to be shared. We live in an age where the retro craze seems to be an ongoing fad, one that doesn’t want to leave. Whether it is fashion, films or music there is a consistent yearning for the repurposing of nostalgia. Fortunately, Sam Amidon’s music is bigger and better than any retrospective reworkings. For this is contemporary music, providing an outlet for forgotten sounds and breathing oxygen into new creations.

See also Two and a Half Questions with Sam Amidon

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last.fm artist and label cloud mentioned in the above post: Max Richter, Byetone, Alva Noto, Komet, sleeparchive, SND, Pan Sonic, Marcus Fjellström, Biosphere, Machinefabriek, Erik Skodvin, Andreas Tilliander, Kreng, Jacaszek, Rafael Anton Irisarri, Elegi, Jasper TX, Library Tapes, Danny Norbury, Murralin Lane, Le Lendemain, Peter Broderick, Sylvain Chauveau, Eluvium, Nils Frahm, Lusine, Ametsub, Arovane, Yasume, Melorman, Funckarma, Rudi Arapahoe, Ard Bit, Boards of Canada, Tycho, Arovane, Melodium, The Black Dog, Brian Eno, Plaid, Lusine Icl, Autechre, Architect, Stephen Hitchell, Deepchord Presents Echospace, Akatombo, Roel Funcken, Funckarma, Quench, Shadow Huntaz, Autechre, Hecq, Gridlock, Deru, Lusine, Proem, Loess, Kettel, Scuba, Pangaea, Untold, TRG, Boxcutter, Sigha, Access To Arasaka, XSOZ, Mobthrow, Subheim, Blackfilm, frank riggio, Cardopusher, Millhaven, Godspeed You! Black Emperor, Mogwai, Explosions in the Sky, Mono, Stars of the Lid, port royal, Wisp, AFX, Kettel, µ-Ziq, Ochre, Squarepusher, Hammock, Lights Out Asia, port-royal, July Skies, Stars of the Lid, The American Dollar, Loscil, Pole, Gas, Christopher Bissonnette, Tim Hecker, Marsen Jules, Julien Neto, Klimek, Ryan Teague, Deaf Center, Rafael Anton Irisarri, Aidan Baker, Fennesz, Belong, Lawrence English, Sam Amidon, Nico Muhly, Valgeir Sigurðsson, FATCAT, raster-noton, Miasmah, Hush, Erased Tapes, symbolic interaction, soma, Warp, City Centre Offices, Hymen, Echospace [Detroit], Modern Love, Echocord, Kompakt, Basic Channel, Ad Noiseam, n5MD, Neo Ouija, merck, Sublight, Hotflush Recordings, Tympanik Audio, Spectraliquid, valeot, Rephlex, Hammock Music, Kranky, Ghostly International, oktaf, ROOM40, Mille Plateaux, Alien8, Staalplaat, Bedroom Community]]> http://www.last.fm/user/liftmuziek/journal/2010/11/05/40x2wr_headphone_commute%27s_sound_bytes_%28november%29 Fri, 5 Nov 2010 11:52:33 +0000 http://www.last.fm/user/liftmuziek/journal/2010/11/05/40x2wr_headphone_commute%27s_sound_bytes_%28november%29 Please don't blame me if it looks like I've abandoned my posts on last.fm - it's not true! I've just been a bit overwhelmed with all the work I put into the main site at Headphone Commute. There are the latest mixes on our Podcast, the guest Sound Postcards from your favorite artists, and the Label Profiles. So I apologize for staying quiet on here. As usual, I would appreciate a comment or two, and recommend that you Subscribe to RSS Feed.

Here's our Podcast!!!


In this entry of my last.fm journal, I present you with seven entries from my Sound Bytes feature, that you may have missed on Headphone Commute. Be sure to stop by the main site for the latest entries and sound samples embedded alongside the reviews!!!


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Sound Bytes : Blue Hour Sounds, Mille Plateaux, and Sutemos

In this installment of Sound Bytes, I wish to cover a few compilations that recently grazed on the cones of my speakers. I've got some ambient, downtempo, and IDM here for you to munch on. And what's more delicious about this organic cocktail is that a lot of it is FREE! Bon appetit!


Made of Dawn (Blue Hour Sounds)
Kicking off this label's birth is a chill-out 10-track compilation titled Made of Dawn. This very first release from the Italian Blue Hour Sounds label features many well known artists in the downtempo scene, as well as a few newcomers. Followers of psychedelic and morning trance should recognize a few names on here, such as Sebastian Taylor (Digitalis, Kaya Project, Shakta etc.) appearing here as Hibernation; Eliot Morgan Jones and Nick Woolfson appearing as Sounds From The Ground; Michael Hodgson and Paddy Free as Pitch Black; René Gundel Nielsen & Martin Spanner Zimmermann as Beat Bizarre and many others... This is a beautiful selection of psybient vibrations, perfectly curated for the fans of Headphone Commute's Best of 2009 Music For Awakened Spirits And Open Minds. The founders of the label, Luca and Jasmine plan on following up this downtempo release with a psytrance compilation, The Garden of Delights. And if you're not a fan of psychedelic music, well maybe now is the time to check it out, because this compilation is 100% FREE!!! A 128kbps MP3 version is available for download in exchange for your email.


Clicks & Cuts 5.0 - Paradigm Shift (Mille Plateaux)
Mille Plateaux is back!!! That's right, kiddies, this is the influential German label that introduced us to genres like click-hop, glitch-pop, clicks and cuts! Kicking off back in 1993, Mille Plateaux brought us compilations like Modulation & Transformation with appearances by Aphex Twin, Cristian Vogel, and Air Liquide. In 1996, the label released the infamous Gas record, and in 1999 they catapulted SnD. In 2000, Vladislav Delay joined the roster and introduced us to the Clicks + Cuts series! And Alva Noto's debut, Prototypes also came out on Mille Plateaux. In 2004, the label went into hiatus, and now, four years later, it's back with it's fifth installment of Clicks & Cuts, subtitled Paradigm Shift! Now it should be no wonder to you, why I am so excited about this release! Many new and familiar names on here, like Kabutogani, Aoki Takamasa, Kiyo, Gultskra Artikler and of course, Ametsub! As the series suggests, this is a selection of fresh glitch sounds: "from Minimal Clicks to IDM-/Dub-ish tracks via Ambient and Sound Art to the 2 'Evac' tracks going to the Artcore and Organic extremes" that should get your taste buds wet for all the music to come!


Intelligent Toys: We Make Music (Sutemos)
I'm going to start off and state outright that Sutemos is one of the most influential net-labels! A lot of new and established talent has come through the doors of this Lithuanian purveyor of electronic and experimental sound! Its ability to spread the music far and wide, is what makes it 'influential' in the scene - especially since all of the releases can be downloaded for FREE! What better way of putting the music in your ear? The very first volume of Intelligent Toys series was released back in 2004. Eight years later we say the fifth installment, featuring artists like AGF/Delay, Deer, Monoceros, Ulrich Schnauss, Yagya, Swod, Miwon, Funckarma, Sense, Praveen, Kero, IJO, Ruxpin and many many others! This sixth entry, subtitled We Make Music is a three volume compilation with over 50 tracks! That's right, it's over 4 hours of music available to you for free! And the roster? We've got AGF, Monokle, krill.minima, Maps And Diagrams, Jan Jelinek, MINT, Sabi, Esem, Sleepy Town Manufacture and more than a handful of debuts - I can't possibly list all of them here! As with all Intelligent Toys, this release is accompanied by a gallery of nearly 30 images, which in itself makes this compilation a collector's dream. So don't delay, and experience the sound of evolving electronica for yourself! Remember, it's FREE!


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Sound Bytes : New Blood, Autonomic and Sub:stance

A lot of great music in this one! In this installment of Sound Bytes, I want to cover a few compilations across a spectrum of genres. Not only do these showcase the latest in dubstep, drum'n'bass and techno, but I promise you that this sound is unlike anything else you've heard before. In all cases, the compilations feature a newly defined stylistic branch of the ever growing music tree. I am incredibly excited to see these releases cross the genre boundaries, push the envelope further and contribute to the evolution of electronic sound. Hope you'll feel the same way.



VA - New Blood (Med School)
First up is a compilation from Med School showcasing new talent, appropriately titled New Blood 010. Med School has been on the edge of ground breaking micro-minimal drum'n'bass since it's been launched as an offshoot of London Elektricity's London-based Hospital Records back in 2006. This is where d'n'b meets glitchy IDM, dubstep and breakbeat, redefining boundaries as delicate cut ups, glitchstep, and half-tempo stompage. New Blood is a series designed to bring the up-and-coming artists to the frontlines before they graduate to become professional 'sonic surgeons' operating in the world renowned Hospital rooms. "These young practitioners have checked your vital signs and are ready to deliver the next prognosis with an array of scalpel-sharp sounds and rhythmical remedies." The roster of appearances includes contributors from all over the globe: UK, Australia, Hungary, Russia, Germany and even Ukraine. Lots of unknown names on here, but that shouldn't stop you from enjoying this exhilarating ride.


D-Bridge & Instra:mental Present Autonomic - FabricLive. 50 (Fabric)
Moving on to a selection of more established artists in the drum'n'bass and dubstep arena, is an impeccable mix of over 30 tracks from D-Bridge & Instra:mental. This is the 50th installment in the Fabric's FabricLive series, and it instantly shoots up to the list of my favorite mixes from this London based label. Compiled by Darren White (aka D-Bridge and former member of Bad Company) and Alex Green & Damon Kirkham (collectively known as Instra:mental), the sound traverses the depth of deep and vocal micro d&b, to hip-hop influenced dubstep and smoky intelligent downtempo. Inspired by their Automic club night and podcast, the mix takes that club sound into the spacey head-nodding lounge or air tight headphones. Featuring a wide roster of artists, mostly from the Exit and NonPlus+ labels, we are treated with top notch selections from Consequence, Distance, Alix Perez, Vaccine, Scuba, Meleka, Skream, Genotype and of course, D-Bridge and Instra:mental. Another important note: all of the tracks for this mix were written exclusively by invitation, so they have not been previously released as singles. "The people behind it are not setting out to make a drum & bass track; they are setting out simply to make music, producing compositions that are emotionally charged, personally edifying and organic."


Scuba - Sub:stance (Ostgut Ton)
Since I've touched on dubstep, it only makes sense that I navigate you towards its deeper territory, approaching atmospheric, minimal and dub techno. Mixed by Paul Rose (aka Scuba), the man behind Hotflush, Sub:Stance "is the collision of two worlds – the vitality of UK bass music intertwined with Berghain and all it’s sensory exhilaration and unique atmosphere." I couldn't have said it better. Released on a label of Berlin's Berghain club, Ostgut Ton, the 24-track mix features some unreleased and exclusive tracks from Scuba himself, as well as Sigha, Pangaea, Untold, Surgeon, Digital Mystikz, and Joker among the many. The journey traverses through minor progressions of bass heavy dubstep until the 4/4 kick picks up the pace with its hollow punch, attributed to Surgeon's style. And now we're in that creepy, cold, and industrial territory of abandoned warehouses turned into clubs turned into temples of aural worship, where frequencies rise from the basement, up through the pipe organs, and drop back to the floor. I only wish that I could hear this in Berghain.

Techno: In Perpetual Motion
As a postscript to this entry of Sound Bytes, if you are interested in going further along this evolutionary trip and move on to a pounding, hypnotic and mesmerizing techno territory, I recommend that you check out the 14tracks.com installment, Techno: In Perpetual Motion, featuring a selection of rare 12-inchers and remixes by Marcel Fengler, Planetary Assault, Ben Klock, Mike Dehnert, and Delta Funktionen. "Techno is forever in flux, and this is just a snapshot of where it is at this particular place, in this particular moment in time..." Yes. Put that in your pipe.


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Sound Bytes : Hyperdub Special

This special installment of Sound Bytes features not just three, but five quick entries covering the very latest releases from one of the ground breaking, boundary pushing, genre bending labels, Hyperdub. This UK label is run and operated by Steve Goodman, aka Kode9. It is Hyperdub that introduced us to William Bevan - aka Burial - back in 2006 with his debut self-titled album, Burial. It is Hyperdub that broke all rules again with King Midas Sound and the critically acclaimed Waiting For You... The reviewed 12"s, released all in 2010, are not your typical dubstep wax. This is chiptune bleepy, breakstep grimey, syncopated goodness, oozing with bass and mind bending rhythms. Now hear this!



DVA - Natty / Ganja
We begin our exploration of the latest releases from Hyberdub with DVA (aka Diverse Arts and Scratcha). As an x-member of Aftershock crew (alongside Terror Danja), the tracks are bass-driven, dubstep riddems with a housey flavah. Natty starts off with a 4/4 kick and falls right into a square toothed bass ride with low rumbling snare hammering out tribal rhythms. Ganja is my favorite track on this 12" - employing Benga style sliding, octave walking, gangstah whistle, simple kick heavy pattern, and incredibly persistent melody, it's surely to become a winner for ringtone collectors. Check out DVA's previous releases, My Style / Africe and The Jelly Roll EP on his own, DVA Music. Did you know that the word 'ganja' is a Sanskrit word for "hemp"?


Terror Danjah - Acid / ProPlus
Old skool rave stabs are at the front-line of the appropriately titled track on A side, Acid. This is a first release for Terror Danjah on Hyperdub, previously appearing on UK's garage label, After Shock and even Planet Mu. For ProPlus, the "grime don" is joined by DOK (previous member of Aftershock), showcasing their classic sound of twisted synth notes landing somewhat sporadically across the syncopated drums, creating one of the most infectious deep grinding melodies. I love rolling down the street to this one, with the volume cranked up and the windows down! I only wish this track was about 5 minutes longer! You feel this?


Kyle Hall - Kaychunk / You Know What I Feel
Here are two tracks from Kyle Hall, with his first appearance on Hyperdub (after a remix of Darkstar's Aidy's Girls Is A Computer). Hall is an 18-year old Detroit resident with a few releases on his own label, Wild Oats. Kaychunk offers more of that 8-bit bleepy mechanical wonkiness, with a Detroit influence of hip-hop, syncopated drums and even UK funky. On Side B, You Know What I Feel approaches 2 step territory, with a vocal controlled melody and a square wave bass line. Hollow kick, stumbles over a backdrop of synth pads, and a clicking rim shot slash claps combo. If you like the sound, also pick up Hall's 4-track Must See EP ou on Third Ear Recordings.


Ikonika - Idiot
This arcade style bleepy molded, dubstep layered, beat stomped track hides an intricate melody shifted into 8-bit territory of toytronic chiptune. Pushing the boundaries once again, Hyperdub brings us the latest from a female producer, Sara Abdel-Hamid, going by the name of Ikonika. The flip side of this 12" features a housey mix by Altered Natives (aka Danny Native), that transforms the sound into a four-to-the-floor beat. The main track, Idiot, is taken off of Ikonika's debut LP, Contact, Love, Want, Have, recently released on Hyperdub. If you dig this, see also Ikonika's 2009 EP, Smuck, released on Planet Mu.


LV & Quarta 330 / Dong - Hylo / Suzuran
Here's another 12" split with only two tracks. On the logo side is the track Hylo, written by LV & Quarta 330. A fast paced beat splatters after the gameboy intro, with a super lo-fi percussion and a sonar melody that challenges the higher frequencies of my studio monitors. On the AA side is a remix by the duo of Suzuran, originally produced by Dong, which splatters in your face off the first beat. This is an uncharted territory of Japanese style chiptunes meets electro pops meets vocoder meets syncopated drums and off-key bleeps. Pretty alien sounding, if you ask me.


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Sound Bytes : Planet Mu Special

I really enjoyed covering Hyperdub in my last special edition of Sound Bytes, so this time I'm turning my ears towards Planet Mu. I'd rather not spend the time on words praising this amazing label, run by none other than Mike Paradinas (aka µ-Ziq). What's interesting to note though, is that in the last few years the label not only adapted to the latest trends in dubstep, but rather grabbed the reins of this unstoppable machine and began seeding the scene with some outstanding quality titles. Even Meat Beat Manifesto put out a dubstep record on Planet Mu (see Autoimmune, 2008). And it was the same label that brought us compilations from Mary Anne Hobbs, as well as the excellent latest releases by Slugabed, Boxcutter, Kuedo, and many others. I think I've said enough, so let's dive into this installment of Sound Bytes, covering the latest 2010 twelve inchers from Planet Mu.


Ital Tek - Moment In Blue EP
Alan Myson, releasing under Ital Tek, joined the label back in 2007, with his Blood Line EP. Since then, iTAL tEK (an inverted capitalization version of his moniker), dropped his debut album cYCLiCAL in 2008. Last year, we saw his Massive Error EP, and now Myson teases us with another EP, titled Moments In Blue. In addition to the two tracks (also appearing on the album), the 12" features two remixes by Ikonika and FaltyDL; while the digital release contains an extra track, Moment In Blue V.I.P. This is a solid dubstep release, with deep rumbling bass, chirping glitchy twists, minor chords, and a heavy kick. FlatyDL's remix, comes in with a solid beat and ghostly vocals, approaching 4/4 territory towards the end of the track. While Ikonika's remix features her staple syncopated snare rhythms (almost Latin sounding - I think I hear marimbas in the background!). Make sure to pick up Myson's sophomore release on the label, Midnight Colour, dropping on the street on June 7th, 2010.


Swindle - Airmiles EP
Blending elements of UK Funky with grime and dubstep, Swindle layers pulsating bass with almost tribal percussion and driving dance floor rhythms, creating his own flavor of synthed-out funk. On this Airmiles EP, the tracks, "Coffee" and "Molly" in particular, feature a vibrant confetti of funkadelic kaleidoscope, in stereo-sound of spacey guitar, lo-fi filters, 80s soaring synths and all. Super smooth! Quoting influences by Stevie Wonder, Miles Davis, George Benson, Bob Marley and even Michael Jackson, it's no wonder that his style leans heavily towards a blend of reggae and jazz. In the past, Swindle [who's real name remains a mystery] has released a grime compilation, The 140 Mixtape (2007), and an album, Curriculum Vitae (2009) on his own, Swindle Productions. Let's hope Planet Mu serves as a cannon to catapult this rising artist onto the scene. See also Swindle's remix of Terror Danjah's track, "Zumpi Hunter", appearing on Industry Standard Part 4 (2009).


Rudi Zygadlo - Resealable Friendship
In May, Glasgow (UK) based producer, Rudi Zygadlo released his debut album, Great Western Laymen, but right before that, in late March, he teased us with a four track single, Resealabel Friendship. For this installment of Sound Bytes, let's concentrate on the EP. Let's see, how do I describe Zygadlo's sound? It's as if Frank Zappa started baking pop pastries within the dubstep cookie cutter's template, twisting and stretching the dough in every direction, then slapping you upside the head. This release is complimented by two remixes from Planet Mu's rising stars. Starkey neatly folds the track into a deeper bass dance track, while Slugabed drenches the vocals in a mixture of 8-bit synthed out potion, that spices up the flavor and kicks it up a notch. BAM! So don't forget to pick up that full length, Great Western Laymen, ok? I don't want to ruin it, but the credits contain contributions by musicians on trumpet and alto sax.


FaltyDL - Phreqaflex
On this three track 12", NYC based Drew Cyrus Lustman, aka FaltyDL, returns with a flavor of housey minor chords, glassy pads, and shuffling 2-step rhythms. Gearing up for yet another full length, Planet Mu will release another EP, Endeavour, scheduled for September 2010. Meanwhile, Lustman's last year album, Love Is A Liability received some critical acclaim, including a selection for Headphone Commute's Best of 2009 : Music For Vibrating Your Neighbors’ Dusty China. On Phreqaflex, Lustman flexes his freakishly versatile muscles to squeeze out some nostalgic garage, sub-bass rumbling frequencies, with dusty fading vocals, and heavily layered vibe. Fans of Burial will be in for a treat once they hear "My Friends Will Always Say..." - I particularly dig the use of lip smacking in between the words, which are usually muted out by the producers from their tracks, leaving something empty, non-human, behind... This is a dance floor hit for sure!


Oriol - Coconut Coast
Wrapping up this installment of Sound Bytes on Planet Mu Special, is a newcomer to the label, Oriol. On his very first EP, Coconut Coast, Barcelona born and Cambridge based Oriol Singhji mashes up grimy beats with saturated synths, syncopated rhythms and elements of 70's soul, disco, and mid-80s electro. Preparing for his debut album, this four track teaser release features a remix by FaltyDL as well as an appearance by Mike Paradinas himself, disguised behind his Jake Slazenger alias. We are also treated with a remix by Shortstuff who released a collaboration EP with Geiom last year, No Hand Signals (2009). "[Oriol's] music connects the dots between his musical tastes, from the 70’s fusions of Herbie Hancock and Stevie Wonder to Theo Parrish, and Larry Heard to Recloose, drum 'n' bass and dubstep". This is something completely out of this world, so you better keep your eyes out for Oriol's upcoming, Night And Day hitting the streets this summer.


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Sound Bytes : Baconhead, Anodyne Industries, and Mormo

This installment of Sound Bytes features some of my latest picks among the net-label community. Distributing music digitally, and mostly for FREE, net labels are a collection of artists sprinkled across the domain of intarwebs with one goal in mind: make great music and spread it far and wide! Back in the early 90s even I was a member of a subculture of artists, musicians and hackers, known as the 'demoscene', uploading MODs to European elite HQs over a 1200 baud modem. Sigh... Am I dating myself here?


Baconhead - Soap EP (Acroplane)
What's that rumbling in the caverns of an abandoned tunnel? Why, it's the evil bass monster! C'mere, you poor creature, let me feed you some digital scraps. Whoah, don't be greedy! Let go of my 8-bit console! What's your name anyway? Oh, it's Baconhead, now, is it? And wipe your dirty bleepy mouth, or I may have to wash it out with Soap. So, who is hiding behind that green skin unleashed by the Irish net label, Acroplane Recordings? It's Ben Hudson (aka Ebola) and Paul Bee (Autobee). This is their first collaboration together, producing saw wave synth stabs, laser sweeps, and deep bass sci-fi beats to wake you out of your day dreams back into nightmares of cartoon flowers and cutout trees. The six track Soap EP, is a nice addition to Acroplane's catalogue of digital releases, previously featuring Igorrr, Somatic Responses, and Barry Lynn (Boxcutter). While visiting the label's site, be sure to pick up Ebola's Brodmann Area available for FREE! Check out the track Wookie, to get your woopie wonking...


Anodyne Industries - The Gateway EP (IDMf)
A newcomer to the scene of digital bass is Aaron King, releasing under the moniker Anodyne Industries. Hailing from the Bay Area of the States, King lands his first EP on IDMf Community, a net label spawned off of IDMforums. With solid production, breaky beats, and beautiful harmonics, King climbs to the top, among the label's previous seven EPs and compilations. The Gateway EP collects five tracks across a few genres, including dark and crunchy IDM, melodic-vocal-anthem dubstep, and even drum'n'bass. The mood shifts from light to dark with appropriately titled Make It Darker, showcasing King's ability of combining ethereal synth chords with nasty bass stabs. The best part is that this and all previous label's releases are available for FREE - so point your clickers and download legally away! For a taste of IDMf, pick up the first few compilations, featuring tracks from the members of the forum community. Here's my advice to established labels: always keep your eyes on some of this fresh talent... Download 320vbr MP3 or FLAC version.


Mormo - Epicurean Swerve (Bedroom Research)
Navigating through the web of net releases, I land upon a glitchy and abstract sound of Tomasz Kaye, aka Mormo, with his mind-bending experimental 8-track mini-album, Epicurean Swerve. Think Funckarma, Phoenecia, and dare I say Autechre. Put out by French collective of artists, Bedroom Research, this release features a taste of bleeps, clicks, and heavily processed rhythms as warped, swirled, and bit-stretched by this Holland-based artist. At times chaotic, mind-bending and bizarre, Kaye's sound pushes the envelope further, past intelligent design and dance oriented beats. Always complex and never revealed at face value, the album begs for numerous returns, to peel back the intricate structure for a closer look at the splintered sound. Be sure to also check out Mormo's debut album, Wasting 500 Sounds, released by Low Impedance Recordings back in 2006. If you have more bandwidth, crawl around the net-label's site, and fill your queue with more freebies.

More net labels to explore...
If after this bass-heavy entry you're still hungry for more, check out this list of my favorite net labels to visit : Sutemos, Serein, Thinner, Kahvi Collective, Monotonik, Controne, zymogen, Stadtgruen, Polymorphic Music, 12rec, and last but not least, one - yet another netlabel.


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Sound Bytes : Kuedo, Eskmo, and VibeSquaD

I sat down to cover the latest release from Planet Mu by Kuedo, and my mind migrated over to the bass sounds from Eskmo which then reminded me of an album by VibeSquaD. This is a perfect example of why Sound Bytes makes sense in that nonsensical kind of way. Three releases tied together by nothing more than my mood, yet thematically intertwined through more than just an evolution of sound. There's only two degrees of separation here, kids! It's almost as if I'm forming a certain path, and then dragging you along by your ears... Enjoy.


Kuedo - Dream Sequence EP (Planet Mu)
Have you met Kuedo? Yes, you have... It's Jamie Teasdale, also known as Jamie Vexd, who along with Roly Porter have already dropped a few dubstep bombs on Planet Mu, together known as Vex'd. With Dream Sequence EP, Jamie stumbles across lazy and almost drunken two-step beats, with 8-bit arcade game chords, twisted bit-crushed synths and degenerated vocoder. This four track EP features deep rumbling bass, almost bubbling to its own suffocation, and sluggish percussion, ideal for those nightmares when you're struggling through the swamp as the ghostly vocals pull you back in reverse delay. The winner on this release is the track titled Starfox, which the EP was originally named after. Another highlight, Shutter Light Girl, is a minute long vignette of a beatless sound exploration to the likes of Burial. A little birdie has also told me that there is another upcoming full length, titled Cloud Seed, coming out soon. Pick up this, and previous Vex'd releases, such as Degenerate (Planet Mu, 2005), directly from the label's site. This is bleepy, this is wonky, this is Planet Mu.


Eskmo - Hypercolor EP (Ancestor)
I've had my eye on the West Coast sound of San Francisco, Portland and LA, for a while now. The Glitch Mob, in particular, featuring Justin Boreta (aka Slidecamp), Edward Ma (edIT) and Josh Mayer (Ooah), have been producing some glitchy, breaky, and instrumental hip-hop. I'll bet my money that Brendan Angelides, who has two monikers, Welder and Eskmo, has been hanging out with them. Releasing the Hypercolor EP as a digital download on his very own label, Ancestor Media, Angelides mixes up the sound dubstep with deep rumbles of hip-hop, where the crowd sways with the rhythm, clapping their hands with the beat. And his sound has already caught the eye of some heavy hitters. See, for example, his remix of Bibio's Dwrcan on Warp, and his 12", Let Them Sing released by Planet Mu in 2009. What a great roster of labels to have in his biography! Although this EP is almost a year old, I still return to it, for its solid, polished sound. Be sure to pick up his latest split single with Eprom, Hendt / Lands and Bones (Warp, 2010), and, even more exciting, his collaboration with Amon Tobin, calling themselves ESKAMON, Fine Objects (Ancestor, 2010), which comes with a free WAV samples and Ableton pack along with the release! Sounds like a remix invitation to me! Recommended for the likes of the above, as well as Prefuse 73, Daedelus, Richard Devine, Nosaj Thing and all the usual West Coast suspects.


VibeSquaD - Joyful Noise (Vibesquad)
Well, since I'm in the mood for crunky bass, it's only appropriate that I bring up this gem by Aaron Holstein, who goes by the name of VibeSquaD. Welcome to the world of crunkadelic basstraveler! I first came across Holstein's sound with his debut, Return of the Pudding People on Bluetech's Native State. Since then, Holstein scored a release for Proboscis (that's KiloWatts' digital label), a remix on Addictech and an appearance on Interchill. Oh, and Holstein is very good friends with the above mentioned members of The Glitch Mob - playing at many venues with them. So, we're all in the family here. Joyful Noise is a collection of thirteen tracks, self-released in digital format. In terms of sound, VibeSquaD is raw, loud, and rumbling. Open up your ears to square-wave bass, solid punchy beats, and mind-twisting melodies that make you cringe your nose. Classification is pointless, unless you prepare yourself to skip over glitch-hop, dope-step, and and funk-bass. Production is crunchy, tight and top notch. This is a serious treat for fans of dubstep and IDM alike. Recommended to be listened to alongside Eskmo, Bassnectar, Heyoka, and the rest of the mob...


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Sound Bytes : Limaçon, Luke Hess and Hobo

With this another installment of Sound Bytes, I share with you my latest favorite selections in minimal-dub-tech-house and funky polished beats. First up is a brand new release from Thoughtless which should keep your heads bopping, rolling into the latest from Echocord, and when you're all warmed up, confidently stepping into the darker territory of M-nus output. By now it's no secret that I enjoy the mind cleansing minimal beat - I have always been hypnotized by the kick-click-tick-tocks. I hope you enjoy this mini itinerary for your upcoming trip.


Limaçon - Tarry Not (Thoughtless)
Deriving from the Latin limax ("snail"), a limaçon is a geometric circular pattern, similar to that of a cardioid. Santa Cruz based Christopher Lee, adopted the name Limaçon in 1997, to create a solid, minimal, and driving sound of tech-house, that cleans out the crevices of my mind, previously occupied by all noisy thought. Yes, this extremely hypnotic, four-to-the-floor beat, is relaxing for me. Once your focus latches onto the repetitive patterns, it leaves no room for worries, anxieties or concerns. There is just this sound, rolling forward with the clean, polished, granular synthetic sounds. In his bio, Lee talks about his production : "I try to keep a balance between something for your mind and something for your body, between experimenting with new sounds and giving people something they can grab onto." With a few digital releases and 12-inchers behind his belt, Tarry Not is Lee's debut album, on Canadian digital label, Thoughtless Music. The latter, by the way, is part of the extended Native State family, with a few excellent releases by Noah Pred, Evan Marc and KiloWatts. Recommended for the minimalists and followers of Steve Bug, Claro Intelecto, and Surgeon. Be sure to pick up your digital copy directly from Beatport [preferred], also available on Bleep, Juno, and of course, iTunes.


Luke Hess - Light In The Dark (Echocord)
Following a half a dozen of 12" EPs, Detroit raised Luke Hess lands his debut full length on Echocord. The Copenhagen based label is famous for its minimal, deep, and dubby output with releases from Rod Modell (aka Deepchord), Quantec, and Mikkel Metal among the many. Embedded deeply in the names of the nine tracks, and the title of the album itself, Light In The Dark, Hess projects a few spiritual connotations behind his music and the central theme. If the search for enlightenment is not your cup of tea, then perhaps the sound of light rolling tech-house beat, deep bass, and echoed minor chords will show you the way. Full of Detroit minimalist elements, the album trots on through lush textures and spacious atmospheres, measured by a tight and punchy kick. Light In The Dark is a steady, meditative, cleansing, and an eye/ear opening experience. Great for the headphones and dance-floors alike. Be sure to also check out Ignite The Dark Remixes EP with reworks from cv313, Marko Fürstenberg and Mikkel Metal.


Hobo - Trackz (M-nus)
Since I'm in a minimal kind of mood, it only makes sense that I turn next to Richie Hawtin's Canadian label, M_nus. By the way, Hawtin has recently announced the return of Plastikman with a new album in the pipeline. One can only hope that it will live up to our expectations. But back to Hobo, whose real name is Joel Boychuk. Along with Adam Young, Boychuk has already released as Tactile, see Silent Movie (M_nus, 2007). For his solo project, Boychuk collects four tracks on a 12" (and eight on a digital release), showcasing extremely clean and minimal techno, with polished production skills and an ear tuned to perfection. Look, this is mind cleansing, shamelessly stripped, pounding techno, and I'm not at all embarrassed to be in love with it. Boychuk's bio on the label's page begins with "Sometimes you have to lose yourself in order to find a better way. It’s not a conscious decision, it can’t be forced – it’s just the way of the wanderer…" And that is precisely how I feel when listening to this music. Recommended for the likes of Geiser, JPLS, Heartthrob, Ben Klock and Redshape.


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last.fm artist and label cloud mentioned in the above post: Meat Beat Manifesto, µ-Ziq, Mary Anne Hobbs, Slugabed, Boxcutter, Kuedo, Ital Tek, FaltyDL, Swindle, Terror Danjah, Rudi Zygadlo, Starkey, Oriol, Mike Paradinas, Geiom, Shortstuff, Jake Slazenger, Digitalis, Kaya Project, Shakta, Pitch Black, Beat Bizarre, Aphex Twin, Cristian Vogel, Air Liquide, SND, Gas, Vladislav Delay, Alva Noto, Kabutogani, Aoki Takamasa, kiyo, Gultskra Artikler, Ametsub, AGF/Delay, Deer, Monoceros, Ulrich Schnauss, Yagya, Swod, Miwon, Funckarma, Sense, Praveen, Kero, IJO, Ruxpin, AGF, Monokle, Krill.Minima, Maps And Diagrams, Jan Jelinek, Mint, Sabi, Esem, Sleepy Town Manufacture, D-Bridge, D-Bridge & Instra:mental, Instra:mental, Consequence, Distance, Alix Perez, Vaccine, Scuba, Meleka, Skream, Genotype, Marcel Fengler, planetary assault, Ben Klock, Mike Dehnert, Delta Funktionen, DVA, Scratcha, Terror Danjah, Kyle Hall, Ikonika, LV & Quarta 330, Dong, Baconhead, Igorrr, somatic responses, Barry Lynn, Boxcutter, Funckarma, Phoenecia, Autechre, Mormo, Anodyne Industries, Kuedo, Eskmo, Burial, Vex'd, VibeSquaD, The Glitch Mob, Welder, Edi, Ooah, Prefuse 73, Daedelus, Richard Devine, Nosaj Thing, Amon Tobin, Eskamon, Eprom, KiloWatts, Bassnectar, Heyoka, Noah Pred, Evan Marc, Limaçon, Steve Bug, Claro Intelecto, Surgeon, Luke Hess, Rod Modell, Deepchord, Quantec, Mikkel Metal, cv313, Marko Fürstenberg, Richie Hawtin, Plastikman, Geiser, JPLS, Heartthrob, Ben Klock, Redshape, Planet Mu, Hyperdub, Blue Hour Sounds, Mille Plateaux, Sutemos, Med School, Fabric, Ostgut Ton, Hotflush Recordings, After Shock, Third Ear Recordings, acroplane, IDMf, bedroom research, Sutemos, Serein, Thinner, Kahvi Collective, monotonik, controne, zymogen, Stadtgruen, Polymorphic Music, 12rec., ancestor, Warp, interchill, Native State, Thoughtless Music, Echocord, m-nus]]> http://www.last.fm/user/liftmuziek/journal/2010/09/19/3xered_headphone_commute%27s_sound_bytes_%3A_n5md_special Sun, 19 Sep 2010 23:33:51 +0000 http://www.last.fm/user/liftmuziek/journal/2010/09/19/3xered_headphone_commute%27s_sound_bytes_%3A_n5md_special The following is a snippet of the latest music reviews from Headphone Commute.

Check out detailed reviews with full track samples on http://www.headphonecommute.com




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Bitcrush - Of Embers

It only makes sense that we begin our coverage with an album from the
label boss himself, Mike Cadoo, releasing his fifth album under the
Bitcrush alias (see his latest as Dryft further in our next
installment). Picking up where his 2008 album,Epilogue In Waves, left
off, Cadoo employs soaring guitars with reverb drenched synthetic
pads, cut-up glitchy IDM clicks and full on acoustic percussion. With
only six tracks adding up to less than an hour, the album effortlessly
floats between genres, fusing favorite elements of ambient and
post-rock. "Of Embers finds Cadoo looking even further back into his
experiences and inner struggles than ever before to create what may be
the most hopeful album of his musical career."Fans of emotional
electronica will be delighted to glide along the downtempo rhythm with
the ghostly background vocals of Cadoo himself. Fourteen minute track,
Fray The Middle To Meet The Ends, takes the listener onto a cinematic
journey, where textured layers and sonic waves unfold into a new
beginning, so very welcome after his last, misleadingEpilogue.
Overall, Of Embers is a very personal album, bringing the listener
closer into the intimate setting of this musician's world, where the
fire slowly crackles and the embers gently glow. Highly recommended
for fans of Hammock, Port-Royal and Lights Out Asia.

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Lights Out Asia - In The Days Of Jupiter

That nicely segues into our next entry, doesn't it? We last heard from
this Wisconsin based band, Lights Out Asia, back in 2008, with their
release, Eyes Like Brontide. Two years later we are gifted with their
fourth full length release, In The Days Of Jupiter, and it's a doozy!
The album opens up with gentle electronic pads, and cut-up robotic
voices - an intergalactic journey is ahead... The second track,
"Except Europa", picks up with tight IDM beats and slowly builds up
into the explosion of sound, as we are launched beyond our
stratosphere into the outer worlds. The guitars erupt into an
expansive wall of frequency rich textures, as we break away from the
Earth's gravitational hold, and float through the ambient layers of
atmosphere. Mike Ystad continues to treat the sound with electronics,
as Mike Rushdelivers the bass riffs, with a guest appearance by Ayala
Trumper on the cello, and of course, Chris Shafer on the mic. The
album also employs a few field recordings and a selection of samples
credited to freesound.org. "Just as Jupiter eclipses the other planets
in our solar systems, Lights Out Asia have eclipsed expectations by
delivering their most expansive album to date." I couldn't agree with
that quote from the label's page more... Be sure to pick up this and
their previous releases, Tanks And Recognizers and Garmonia.

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Dalot - Loop Over Latitudes

The label welcomes a new member to its family with Maria
Papadomanolaki first proper full length debut as Dalot, Loop over
Latitudes. From sweeping pads to pulsating electronic beats, Dalot
demonstrates her skill at "creating moments of lush ambience, emotion
and texture by blending elements of phonography, electro-acoustic
composition and minimal electronica with more traditional musical
elements such as voice, guitar, glockenspiel and tablas." Quoting
Stars of the Lid, Colleen and Boards of Canada as her inspirations,
Maria blends field recordings with glitchy percussion, meditative
passages, and reverb drowned voice to create music as cerebral as it
is contemplative - each piece presenting a story,"much like one of the
novels she once studied in her native Greece". The album collects
three tracks from Dalot's first EP, Flight Sessions, released by Coo
Records in 2009. With this release, Dalot joins n5MD veterans such as
Another Electronic Musician,SubtractiveLAD, and Near The Parenthesis
to contribute another solid release to the label's catalog of
emotional experiments in music. Well done, milady, and welcome to the
family!

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Bitcrush - From Arcs To Embers

Approaching a fourth entry in this installment of Sound Bytes, I
realized that I'll have to do this as a two-part series, as there are
a few more albums from n5MD that I wish to cover. Rounding up this
trip through emotional electronica and soaring shoegaze, it's only
appropriate that I return back to Bitcrush. And it seems that there
are more than just a handful of musicians who are also fans of Mike
Cadoo's signature sound. Here's to add a flavor of their own is a
remix album, From Arcs To Embers, featuring reworks of tracks taken
from all five of his previous albums. If you are a fan of Cadoo's work
and label alike, you'll truly enjoy this collection of remixes from
Jatun, Bersarin Quartett, port-royal, SubtractiveLAD, Near The
Parenthesis, Funckarma and many others! Given a wide array of
contributing artists, you can expect your favorite Bitcrush tracks
reworked in soothing electronica, glitchy IDM and head-bopping
downtempo genres. A few good surprises on here. A remix from Tim
Ingham (aka Winterlight) of Every Sunday, a
leftfield-shoegaze-dream-pop-ambient exploration, leaves me curious to
hear more from this Thames Vallye (UK) based artist. Watch out for his
debut on n5MD!

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Near The Parenthesis - Music For The Forest Concourse

Gentle swells of piano, synth pads, and electronic percussion fill my
room from the very first track of the latest album of Tim Arnd's Near
The Parenthesis project. On his fourth album for n5MD, titled Music
For The Forest Concourse, Arndt explores meditative passages crafted
specifically "for dusk, for open air, for sitting down, and for
breathing in. It is music for staring upwards and listening
attentively or casually". Falling somewhere between modern classical,
emotional electronica, and conscious sky gazing, the music of this San
Francisco based producer evokes an up-lifting feeling in each
near-five-minute-long track. Perfect for afternoon walks, open window
car rides through the country, and for lazy Sunday morning coffee
sips. It is especially nice to hear Arndt's very personal piano work
embedded in the background of each track, appropriately ending the
album with the lullaby, "Goodnight". Over the course of an hour in
twelve loosely wrapped tracks, like random gifts left on the porch to
be discovered by your sleepy neighbors, Near The Parenthesis delivers
another collection of soothing glitchy ambient sounds, calming
atmospheres and warm sunny rays. Be sure to check out Arndt's 2008
album, L'Eixample (see Review on Headphone Commute), as well as Of
Soft Construction (n5MD, 2007). Recommended if you like his other
label-mates, Another Electronic Musician, Arc Lab and SubtractiveLAD.

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Proem - Enough Conflict

Last year, right about this time, we covered Richard Bailey's haunting
dark ambient album, Till There's No Breath. Although the album has
received a set of mixed reviews from the fans, we definitely loved it.
Whether it's breakcore or drone - if it's good then we'll find the
time for music! And now Proem is back to descend on our fragile little
minds with his digitally twisted IDM, sporadic beats and abstract
melodies. This is the album which the followers of the deceased Merck
records have been aching for in agony! Here it is, god damn it, with
enough splattering elements to keep your mind busy through many empty
nights! This is the eighth release from one of the veterans of
American IDM (based out of Houston, Texas), showcasing some of his
most creative advanced production to date. On Enough Conflict, Bailey
"expands his role as 'designer of controlled randomness' by augmenting
his expansive computer-based arsenal with outboard hardware for the
first time". There are enough rough cuts in this fifteen track album
to give you plenty to twitch about, fromJiittirrrriii to @ The Firey
Abyss. Die hard fans of melodic buildups that explode into an array of
triggering percussion and then settle into brutal solid rhythm will be
surely delighted. Clearly, Bailey's most experimental album since
Socially Inept (Merck, 2004). Easily one of the best albums of the
year, designed for multiple rotations. Recommended if you like Hecq,
Funckarma, Lusine, Deru, Arovane, Autechre and Clark.

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Ruxpin - Where Do We Float From Here?

Ruxpin's kaleidoscopic broken beats and synth fueled, seemingly random
but perfectly arranged, complex patterns pretty much define the sound
of IDM today. Whether you were the follower of the genre since the
early works of Aphex Twinand Autechre or continue to satisfy your
jonesing trip for experimental electronica with sounds from Hecq and
Access To Arasaka, Jonas Thor Gudmundsson's entry into the family of
n5MD as Ruxpin will surely get your ears pricked. And pricked you'll
get... Solid micro-programmed percussion, 303 acid lines and
hallucinogenic passages awake the mind during its somber sleep and
send the neurons firing across the entire surface of the mushy matter
under the skull. Where Do We Float From Here? is Gudmundsson's sixth
full length record. This Icelandic producer released his debut, Radio
on Uni:form Recordings back in 1999, followed by two more albums,
Midnight Drive (2000) and Avalon (2003) on Elektrolux. Check out his
full discography - you have a lot to catch up to! With this latest
release, Ruxpin is gathering quiet a following from the public,
demanding the album's original appearance as a download on n5MD's
digital imprint Enpeg to be re-released as a physical CD. Be sure to
also pick up a remix companion, I Wonder If This Is the Place
available as a free download via n5MD's Bandcamp page. Fans of playful
sounds from Luke Vibert, Ceephax, Plaid and Richard Devine will enjoy
this hidden gem!

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Dryft - Ventricle

Well, it's only appropriate that I polish off the second part of our
n5MD special with a surprising return of the label boss, Mike Cadoo,
as Dryft. It's been an entire decade since Cadoo released his solo
debut album, Cell. Prior to exploring his drum'n'bass demons, Cadoo
worked with Mike Wells under their celebrated Gridlock alias, with
numerous releases on a variety of labels. The last full length album,
Formless, was put out by Hymen in 2003. Right about that time, Cadoo
sprung off in another direction, with live instrumentation and glitch
infused shoegaze, releasing lauded work as Bitcrush on his own label,
n5MD (see part oneof this special for his latest). And just when I
thought that Cadoo would abandon his signature dark and crunchy IDM
sound altogether, he awakens from his hibernation as Dryft with
Ventricle! This is more than just a "side-project" - in this hard
hitting, industrial-strength comeback, Cadoo admits to explore the
subconscious compositions and explorations of his mind since the
disband of Gridlock. As if there were a few things unsaid, Dryft
brings back the "massive enveloping drones and rusty clatter" that has
left us in the dark, aching for more... But make no mistake -
Ventricle is not the ghostly echo of the dormant Gridlock - this is
the new sound of Dryft, pushing the envelope of experimental IDM
further up a notch. A must for any fan of dark and cinematic passages,
wrapped in solid beats and drenched in morphing DSP. Recommended if
you also like Kattoo, Access To Arasaka, Hecq, Somatic Responses,
Architect and Nebulo.

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last.fm artist and label cloud mentioned in the above post: Near The Parenthesis, Another Electronic Musician, Arc Lab, SubtractiveLAD, Proem, Hecq, Funckarma, Lusine, Deru, Arovane, Autechre, Clark, Luke Vibert, Ceephax, Plaid, Richard Devine, Ruxpin, Dryft, Gridlock, Kattoo, Access To Arasaka, Hecq, somatic responses, Architect, Nebulo, Bitcrush, Hammock, port-royal, Lights Out Asia, Dalot, Stars of the Lid, Jatun, Bersarin Quartett, Funckarma, Winterlight n5MD]]> http://www.last.fm/user/liftmuziek/journal/2010/04/18/3knokd_headphone_commute_reviews_%28april%29 Sun, 18 Apr 2010 11:30:33 +0000 http://www.last.fm/user/liftmuziek/journal/2010/04/18/3knokd_headphone_commute_reviews_%28april%29 It's been a couple of months since our last update, and a few things have definitely happened... First of all, our regular mixes have been turned into a Podcast. So make sure to subscribe and specifically check out the latest installments: Our Shelter, Our Tomb, April Ambient Mix, Later, and At Home With Home Normal among the many. We've also covered some labels. Check out the label profile for LINE and Home Normal. Last month we introduced a new feature called Sound Postcards. Check out minute long audio images that are better than any picture... We've also celebrated 100 Interviews on Headphone Commute, and that's a big deal!!! As usual, we would appreciate a comment or two, and recommend that you Subscribe to RSS Feed. And don't forget to visit the main site at http://www.headphonecommute.com - we now have samples for each album reviewed!




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William Basinski - 92982 (2062)

Late in 2009, William Basinski had released his eighteenth album, Vivian & Ondine, on his own imprint, 2062 Records. But my mind still holds on to the haunting melodies of his release prior, simply named after a single day, more precisely September 29th, 1982, culminating in the numerical representation of 92982. This is a document of a single night of work, which would eventually spawn a direction that Basinski would explore further. Deep from the archives, we hear Basinski's experimentation with loops that would eventually earn him critical acclaim with the four volumes of The Disintegration Loops, recorded the same year, only to be released twenty years later. Basinski's music is characterized by repeating loops of magnetic tape, playing endlessly on his reel-to-reel, saturated with reverb and short lived time delays. About a year ago, in April 2008, I met Billy at the Resonant Forms festival in Los Angeles. There, I witnessed his impressive live performance. That moment is still alive in my memory, and is recalled with his music. On a table there are two Norelco reel-to-reels, one tin box full of tape loops with a "Tootsie Rolls" logo, and various cylindrical objects. Basinski fishes out long and winding snakes of tape, and feeds them through the magnetic heads, stretching out the remainder of the loop between cups, cones, upside down water bottles and vases. These proceed to play, endlessly, through effects and faders on the mixing board. Only the hiss of the tape reminds me of this dying technology, which is still very much mechanically alive, in Basinski's hands. About the revival of 92982, Basinski writes: Something from a long time ago... in Brooklyn, 351 jay street... A fruitful evening in the studio... Home at last after a day of work at the answering service... answering phones for calvin klein, bianca jagger, steve rubell, and all the other somebody people... in our space station: home in my studio experimenting live. James is in the adjacent studio painting masterpieces. Roger is in the front, gluing old shoes on canvas and painting them orange... I'm clicking the old norelcos back and forth between channels... all the windows are open. The sound is spreading all over downtown brooklyn mixing with the helicopters, sirens, pot smoke and fireworks... Indeed, as if recorded from his apartment window, along with the sounds of a passing helicopter, Basinski reconstructs the moment in these countless organic repetitions of captured time in brief glimpses of aural mementos. These bounce back and forth within my headphones, within the walls of my apartment, or a glass jar of memory, intended to be preserved for another winter, when one feels cold and tired. On Disintegration Loops, the music slowly crumbles until the magnetic signals dissolve, erased through their repetitive playing, leaving a permanent snapshot of their demise. On 92982 the music lives on, with the purpose, one would imagine, of being imprinted in our minds forever. In Musicophilia, a book by Oliver Sacks, a chapter titled Brainworms, Sticky Music, and Catch Tunes explores the cognitive science behind the music that plays in our heads, over and over. "This endless repetition [...] suggests a coercive process, that the music has entered and subverted a part of the brain, forcing it to fire repetitively and autonomously." Somewhere fifteen minutes into 92982.4, I get stuck in that place, and can't tell when the song ends. The moment captured by Basinski back in 1982 continues to live in my mind. And that is the best compliment I can furnish.

See also Two and a Half Questions with William Basinski

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Yann Novak - The Breeze Blowing Over Us (Infrequency)

Infrequency Editions is a sub-label of Dragon's Eye, the latter owned and operated by Yann Novak himself. The label was originally founded by Jamie Drouin and Lance Olsen, but after a brief hiatus, and introduction to Novak, it merged with Dragon's Eye. Originally concerned with documenting live performances and sound installations presented through public concerts at a local gallery in Victoria (British Columbia), Infrequency also releases ambient and minimal studio compositions, as is the case with this recording. The Breeze Blowing Over Us is based on a simple recording of a fan, during one of the hottest days in Seattle. This recording is transformed into a 38+ minute composition that layers organic and synthetic sounds into a thick, brooding, drenched with tropical haze, and tense composition, with a slow movement of mechanically distributed air, worthy of its original title. The piece begins with a moving onslaught of dense textures, inching its way into the foreground at a crawling pace. Muffled sound waves, resembling a pitched down ocean, or the rumbling of a gigantic vehicle passing through an underground tunnel, are offset by distant, high frequency robotic screeches of an alien species. I proceed with caution in the darkness, and feel ahead what must be the door handle. I guess this is where I enter. Suddenly, I'm fighting through the thick vegetation of sound. Soon I come out upon an opening, where the chords crawl up a mountain in a melting drone of lava. This expedition with sound enters a sacred circle of open mouths and stretched out hands, to lift the trapped spirit into the cloud of white noise, only to be spilled again in a form of frequency rain, at the foot of the mountain. The atmosphere of this recording is tightly wound, condensed, drenched in suspenseful emotions, with a slight tingling of uneasiness. Some may even find this unsettling - but not I. I love dark and spooky. Descending deep into abandoned caverns of sound is my part time sport. For the same reasons that one replays those eerie horror movies, I return to Novak's world, time and time again. Check out Novak's extensive discography, with many limited and archival recordings of live performances on Dragon's Eye. His attention to detail with the work on a label, and persistence at reinventing his sound has finally been rewarded - Novak has been noticed by Richard Chartier and is scheduled to release an album on Line in September of 2010.

See also Two and a Half Questions with Yann Novak

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Alva Noto - For 2 (Line)

Following a triumphant 2009 and two of the most notable releases of the year (Xerrox Vol. 2 and Utp_ with Ryuichi Sakamoto) Carsten Nicolai, aka Alva Noto, returns with a second installment of compositions devoted to creative personalities from a number of different fields. Coming four years after the first one, For 2 features compositions dating as far back as 2003, although most are from around 2007. For 2 confirms that Nicolai’s music has become more and more orchestral in recent years, for lack of a better word, and not as heavily anchored in the glitchy beats of Transform and the Transall series. Although the micro beats, squelches and static continue to be among the defining characters of Noto’s music, there’s more going on all around them than there used to be. Of course, Nicolai has been rubbing up against modern classical music in his collaborations with Ryuichi Sakamoto going back as far as 2002 so this is no sudden revelation. But it feels like there’s more weight to his recent solo output as well. His two Xerrox volumes are a case in point. So is opening track "Garment (for a garment)". The sonic identity is intimately familiar - sonar beeps, white noise and minimal glitch. But halfway through, the cellos enter, providing the emotional depth that has often been absent from Nicolai's sterile soundscapes. It's a terrific track and simply put, the blend of the electric and organic just sounds great. Understandably, since For 2 is a compilation of material composed for many different occasions, there's a lot of variety on offer. There's the field recording-based "Villa Aurora (for Marta Feuchtwanger)", with birdsong and airplanes flying overhead. The dark and oppressive "Stalker (for Andrei Tarkovsky)" features Russian dialogue, presumably from the film of the same name, and is reminiscent of Kreng's L’Autopsie Phénoménale De Dieu. On the other end of the spectum, there's the bright and luminescent "Sonolumi (for Camera Lucida)" and the rhythmic beeps of "T3 (for Dieter Rams)". But on the whole, the tone of For 2 is contemplative and atmospheric. This is a fascinating and rewarding collection and it makes you want to dive in and explore the connection with the people to whom the music is dedicated. I must admit that most of the names are unfamiliar to me, although I know Russian filmmaker Andrei Tarkovsky and have heard of Phil Niblock. But the others drew a blank. So I thought it would be worthwhile to flesh out the context a bit. As Carsten Nicolai said when I interviewed him last your for Headphone Commute (see Two and a Half Questions with Carsten Nicolai): "I think, personally, that it’s not really necessary for the listener to know the full background of the concept... The listener can just enjoy and listen without any preconception... If you want to know more, if you want to have a really detailed view, you can go deeper and you can explore several levels of the piece. It can be enjoyable to be able to see the background of the piece..." So while it's certainly not essential to know the stories to enjoy the music, it does add an extra dimension. And those familiar with Carsten Nicolai's music know that "concept" is virtually his middle name. I have therefore added some info on the devotees here below, which may be of interest to those wishing to "go deeper". It's well worth the journey.

See also Two and a Half Questions with Carsten Nicolai

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TU M’ - Monochromes Vol. 1 (Line)

Monochromes Vol. 1 is the first volume of archival installations by the Italian multimedia duo, Rossano Polidoro and Emiliano Romanelli, performing under the moniker TU M'. The name, taken from Marcel Duchamp's same titled painting, is a French expression in which the verb is missing (tu m’…). This literally translates to "you [...] me", where the missing verb must be provided by the viewer (of the painting), or, in this case, the listener. The album, released on Richard Chartier's LINE Records, features the first four (out of nine) audio compositions, created for "two laptops, two mixing boards, two loudspeakers, one video projector, [and] one room." These pieces were recorded live at Vico Santa Chiara Studio, Città Sant’Angelo, Italy in the summer of 2008. For the installation, the duo create an atmosphere where "sound and light vibrations reverberate inside the room, blending together in an enveloping monochrome, that creates an atmosphere to be contemplated." The visuals, available as excerpts on the TU M's website, are composed of drawn out monochrome landscapes, resembling distant mountain silhouettes and sluggish geometric figures, visible in change and movement only through sporadic skipping through the captures. Attempting careful observation, or trying to make out patterns that are not there, is futile. It's like watching yourself age in the mirror. It's like watching the clouds... The audio compositions paint the same picture. Over a slight white noise hiss and endless loops, the melody swells in ambient waves of sound, sparkling in the light of distant piano notes. Like the waves of an ocean that have been crashing against this beach for thousands of years, and many years to come, this music is new and ancient - it exists _all_ the time, somewhere completely on its own, only to be summoned into this moment with the press of a button. The sounds fade in and out with the rhythm of my breathing. Inhale soft pads. Exhale minor chords. Let this pattern wash away all worries. And when the [almost] 30 minute track ends, the melody is still there, in the background of my mind. To round off this exploration of space, sound, and light, intertwined together to create this minimal composition, the duo includes a quote by Jean Cocteau: A poet always has too many words in his vocabulary, a painter too many colors on his palette, a musician too many notes on his keyboard. Check out previous numerous releases by TU M' by rummaging through their sound and visual works, carefully catalogued on their website. Their project under the name of Steno, for example, describing themselves as "a world made up of second-hand music", is released on their own, Mr. Mutt label, which, not coincidentally, is the name Marcel Duchamp signed on the upside down urinal, and named his found art as Fountain.

See also Two and a Half Questions with TU M'

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Cell - Hanging Masses (Ultimae)

Frenchman Alex Scheffer, aka Cell, is an Ultimae regular, having contributed tracks to many of the label's compilation albums, including the excellent Fahrenheit series. Yet, Hanging Masses is his first album for the label and only his second overall, not counting a couple of notable live releases. I've always honed in on Cell's tracks; he usually manages to hit a really sweet spot, mixing a deep slowly developing ambient/downtempo vibe with catchy hooks and wet, shimmering synths on top. Yet, his prior full-length, Phonic Peace, released by Indica in 2005, was not my cup of tea. Too much of the sort of pseudo Indian mysticism that just rubs me the wrong way. Like a lot of other people, I was energized by the music coming out of Britain's Asian underground scene in the mid to late '90s - Talvin's Singh's Anokha album in '97, State of Bengal, Joi, Cornershop and the like. But for some reason I then developed a real aversion to the fusion of traditional Indian and electronic music. Don't know why. Thankfully, Hanging Masses is more in line with his live releases - Live at Glade Festival 2005 (Sofa Manifesto, 2007) and Live at Kumharas - Ibiza (Ultimae, 2007) - only even more mellow and low key. According to Ultimae's press release, the album "constitutes in the artist's heart a homage to Brian Eno, Tangerine Dream and Steve Reich." The connection with Reich is not obvious but Eno and TD are definitely in attendance. Cell is not a man in a hurry. He's content to slowly fill in the sonic landscape, sprinkling it with gently euphoric glimpses of light. Even when the 4/4 kick drum makes an appearance, typically about half way through a song, the pace never exceeds a leisurely stroll. The experience is akin to lying in a field, gazing at the cloud formations for hours and then suddenly deciding to get up to take a walk through the enchanted forest nearby. The restrained but propulsive groove, such as on the mesmerizing title track, ensures that it's a captivating experience. Recommended for all followers of Ultimae's roster, including Aes Dana, H.U.V.A. Network, Solar Fields, and Hol Baumann.

See also Two and a Half Questions with Cell

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Nest - Retold (Serein)

As the snow blankets the ground, and the earth hibernates in preparation for a new cycle of life, gentle sonic frequencies vibrate our outer shells, to keep us warm throughout the season. The sound of Nest is simple, contemplative, intelligent and incredibly gorgeous. Kicking off 2010, and in a sense a brand new decade, Retold is sure to capture your heart and set the bar for all the modern classical compositions to come. The album strikes your soul with its beauty from the very first track, and you are immediately immersed in the soothing sounds of piano, strings, and tender electronics. Crafted cinematic soundscapes are at the center of the production, setting up the mood and feelings to become the soundtrack to your daily life. Boomkat properly places Retold into its Home Listening category, and I say we should have a Work Listening genre as well – the music of Nest is the only thing that carries me through the insanity of this empty day at work, molding the wasted time into a positive ripple, one note at a time. Retold is the first physical output by a British netlabel, Serein, which has been releasing digitally since 2005. Nest is a collaborative project of the label owner, Huw Roberts, and Otto Totland, who along with Erik Skodvin (Svarte Greiner) releases as the beloved Deaf Center on Type. And it seems that the first release will set the stage for all of the label's future output. Serein, following in the footsteps of another netlabel, Miasmah [which, not coincidentally, is run by the above named Skodvin], is hoping to take up some real estate among our shelves of preciously collected masterpieces. And with Retold, I think it has convinced me to shove a few aside. The album itself could be divided into two parts. Its first half compiling the previously released six tracks on Nest EP (Serein, 2007) in a newly re-mastered form. And the second is made up of new compositions. Musically, however, the story flows, inseparable by medium and time. Between the sound of rain and soft piano keys, the music seeps with melancholy, slowly rolling down my cheek, in a tear of solitude and acceptance. This is how things must play out, I guess, in an intricate web of patterns and cycles, with one action setting off the next, including thought and motion. And since this is the first physical release, a quick nod to the packaging. A six-panel digipack with design by Roberts contains a solid red disc, with no etching or writing of any kind. The spine of the cover has an echo of the same color in a small square next to the catalog number. I'm going to go completely on a whim here and guess that the subsequent releases will have a similar pattern. That would be neat. Fans of Biosphere, Deathropod and of course Deaf Center will enjoy this release immensely, as well as followers of everything touched by Peter Broderick, Max Richter, Jóhann Jóhannsson, Helios, Jacaszek and Ólafur Arnalds. Need I say more?

See also Two and a Half Questions with Nest

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VA - Pop Ambient 2010 (Kompakt)

Kompakt Records kicks off the new year with the tenth installment of its annual Pop Ambient series — a decade of densely layered drones, tones, and sounds, showcasing the best artists making music in modern classical and ambient genres. The compilations are curated each year by label head and music legend, Wolfgang Voigt (aka Gas), and have basically been a staple in my morning and late evening playlists for an entire decade. The musical discoveries I have made because of this yearly release are unparalleled — over the years the series has acted as a who’s who in forward thinking electronic compositions that aren’t concerned with beats, bass, or the dancefloor. Artists like Marsen Jules, Klimek, Andrew Thomas, Markus Guentner, Donnacha Costello, Triola, and Thomas Fehlmann have all been mainstays throughout the decade long series, and all artists I respect and adore. A quote from press release: Newcomers may ask - so what is POP AMBIENT? A genre? Possibly. A statement of musical mindset? Absolutely! [...] Throughout POP AMBIENT's editions, the music has evolved ever so naturally - almost characterizing the blossoming of the floral arrangements that have graced the series covers year after year. [...] We say this every year but POP AMBIENT 2010 is a defining moment for the series - a change in pace but a familiar face for those that have been yearning for our annual remedy. The opening track for the 2010 edition starts with quite possibly the best Marsen Jules track I have ever heard. The aptly titled “The Sound of One Lip Kissing” sweeps from right to left channel and builds around a single dark and reverberating chord that is accompanied by the hesitant tinkle of piano to amazing effect. Brock Van Whey is welcomed into the Pop Ambient family this year and lulls listeners with two beautiful tracks under his bvdub moniker. “Lest You Forget” follows the opening track and offers a sense of air and light, after Marsen Jules’ somewhat ominous beginning. Van Whey also closes the album with the sprawling “Will You Know Where to Find Me” that features haunting vocals and rich delay that peacefully dissipates as the 17-minute track comes to an end, leaving you calmed and happily brooding. Kompakt’s own Dettinger, returns with “Therefore” his first new song in nearly a decade – a smooth and droney track, that features a slight hi-hat shuffle buried in the mix. Label head, Wolfgang Voigt also shows up with the excellent “Zither und Horn”, which sounds like nothing I’ve heard from him before. It’s a pastoral and string-based track that feels more traditionally “song-like” in its composition, and much different than his work as Gas. Offerings from DJ Koze, The Orb, and Jürgen Paape are equally as strong, and overall, this is another sterling edition to an already fantastic oeuvre of ambient music. Check it.

See also Two and a Half Questions with Wolfgang Voigt

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Frank Riggio – Anamorphose (Spectraliquid)

Like a hungry spider, returning to its nest of venomous eggs, the effect-rich sound of Frank Riggio crawls up your skin, and sinks its fangs in to open up a healed scab beneath your scalp. This album is dark, cinematic, enormous and elaborate. It is absolutely impossible not to compare Riggio to Amon Tobin - so let me just get the similarities out of the way. Saturated with samples, dense percussion, and intense micro-programmed twists and turns through the intricate passages, Riggio seems to have taken the path where Tobin veered off to persuade a more experimental sound. So let us leave Tobin in the studio, composing another video game soundtrack, and turn our ears towards Riggio, who sprung up from the underground last year, like a fresh poisonous mushroom after an acid rain. Hailing out of Epinal (France), Riggio has been producing music since the age of 18. His influences include the above mentioned Amon Tobin, DJ Shadow, and Bonobo. In 2007, Riggio released his debut LP, Visible in Darkness. Soon after, his second digital LP, Symmetric Human Door, appeared on Australian net label, Omelette (available for free). He followed it up with another free digital 7-track release, Noise Thinking (Omelette, 2009), and in December, the Greek label, Spectraliquid, gave us the best Christmas present one would want - the third album from Frank Riggio, Anamorphose, available completely for FREE! What? I would have gladly paid money for this! I guess the motivation here is to fall in love with Riggio's sound - since he's got a fourth album on the way on Spectraliquid out in late Spring of 2010. And falling in love with this trip is easy! Full of orchestral stabs, agitated strings, and an arsenal of acoustic and digital percussion, Anamorphose is the lost score to my newly found nightmares. With nostalgic passages, scratching at my memory of abandoned dusty films, the beat treads on, like a rusty tank, smothering your neighbor's obscene American Girl doll into the cold oily mud of reality with its metal claws of freedom, fake lipstick and all... Apple orchards wither, as seen through the sepia filtered lens of an aged camera, then sink into the putrid ground to reveal the lonely scarecrow, its empty mouth dangling by a thread, in which the spider made its nest. The sound is so raw, I can draw these images all day. And the production is superb! The album is so good, it's tough to pick a favorite track! I mean, if I didn't tell you that this isn't Amon Tobin, I bet you wouldn't even know. Even the cover art for this and other albums along with the font, resembles the artwork of Supermodified (Ninja Tune 2000) and Foley Room (Ninja Tune, 2007). And I point that out with the greatest respect. While some may turn up their nose with accusations of a copycat, I happily proclaim - bring it on! More imitations of Amon Tobin, Aphex Twin, and Autechre (just to start with 'A's). These are the roots of evolution of music as it splinters into a million little pieces of sound. Permutations, anyone?

See also Two and a Half Questions with Frank Riggio

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B.J. Nilsen - The Invisible City (Touch)

I have to admit that I'm mildly surprised by where my musical preferences are taking me these days. Until recently, I didn't really have much patience for drone and noise music. I found it intriguing but I couldn't really wrap my head around it. Now I find myself increasingly gravitating toward these more abstract forms of music, especially if they incorporate field recordings. There's something primordial about this music, as if it allows you to engage with some elementary force deep within. The sharp edges that I used to find grating are now so deeply satisfying. Am I hearing it differently? I don’t know. But I do know that for me, listening to music like B.J. Nilsen's seems to slow the passage of time. Gradually, the sounds combine to build a scene that remains constant over an extended period of time, giving you the time to peel away the surface and submerge yourself in the substance beneath. It really focuses the mind. It's what I imagine meditation must be like. B.J. Nilsen is one of the shining lights of the treasured Touch label roster and a luminary of electronic drones and field recordings. I just recently discovered his stunning last album, The Short Night (Touch, 2006), and his latest, The Invisible City, is another high water mark. Nilsen has traveled as far afield as Japan and Portugal for the source material for his field recordings and the track notes provide fascinating insight into the building blocks of Nilsen's compositions. Along with the electronics, acoustic instruments (Hildur Gudnaudottir makes another appearance on [pitch-regulated] viola) and processors he uses, Nilsen lists the recorded sound sources. And so, “amplified chair dragged across floor”, “window shutters”, “steel whistle coffeepot” and “birdsong” place their indelible mark on the opening track Gravity Station. A few minutes in, underneath a steady thick metallic drone and the hum of vibrating electrical lines, you can just barely make out what sounds like the weaving tones of a Middle Eastern flute – something you might hear off in the distance in a busy sun-drenched Arabian market. Or is it my imagination? Then, halfway through the almost 17 minute track, the chair and shutters lurch loudly and rudely across the sound field, heralding a rather menacing and doom-laden finale. A frantic chorus of birdsong whips things into a frenzy before the end comes with desperate bursts of twisted noise. What does it all mean? I don’t know. But on the whole, Nilsen's sound sculptures – which seems to me a more fitting description than “music” – are ominous. If they are indeed a representation of some aspect of city life, then it must be of an urban underbelly. Of dark things that lurk underneath the surface, like the high-pitched static squeals in Scientia that recall rats scurrying around the sewers beneath our cities. But more than anything, the music evokes industry and technology, from churning motors and machinery grinding to a halt in Phase and Amplitude to a burst of a fax transmission at the beginning of Virtual Resistance. Digital data snaking its way through the invisible passageways that lie behind the walls of our constructions. The ironic thing is that many of the field recordings originate in nature. Bumblebees, wasps, birdsong, flapping wings, crows, rain, footsteps on snow, “dead trees leaning against each other”. But they are usually manipulated and processed to such an extent that they are unrecognizable. Nevertheless, they bring life, depth and movement to a cold and hard backdrop constructed of wires and steel. And together these elements form remarkable sound sculptures that will undoubtedly stand the test of time.

See also Two and a Half Questions with B.J. Nilsen

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Broken Note - Terminal Static (Ad Noiseam)

For those of us who have been forced to stem our vinyl intake, it's nice when a label like Ad Noiseam swoops in and neatly collects a slew of great dubstep 12"s from multiple sources. Terminal Static, featuring tracks released on Ruff, Damage as well as Ad Noiseam, is such a collection -- a near-comprehensive taste of London producers Eddie (aka Kidnappa and one half of 16 bit) and Tommy, together known as Broken Note. Imagine dubstep strung up and gutted by space marine rastas, with tense atmospheres, roaring bass lines and raging tempos that can go neck-and-neck with the likes of Excision, Rotator and DJ Hidden, and you come somewhat close to nailing the sound. Pigeonholing it as "darkstep" does a disservice to its unhinged nature. Each track is its own mechanized beast. A rogue unit. Halfway through "Meltdown" the gears noisily shift from a tribal deathmarch to frenetic drum'n'bass warfare. "Pyrotek" machineguns its way into breakcore/gabber territory. The grime of "Dubversion" (which Hecq later re-calibrates in a chop-shop fashion) is caked on so thick, it's a wonder its tank treads still move. Everywhere is the reek of corpses and napalm. This isn't a stealth mission. This is an all-out, take-no-prisoners invasion, chainguns and flame throwers blazing. Were you to send "Zealot" back in time, Terminator style, to anyone listening to Bloody Fist Records or Digital Hardcore Recordings, they'd immediately surrender... after soiling themselves. The future is frighteningly advanced. Broken Note has seen to it. Stop crying and get up, soldier. Terminal Static is the debut release by the duo on Ad Noiseam. In addition to the above mentioned Hecq remix, the CD contains a rework by Enduser appearing on the album as I Am The Sun. Check out Broken Note's previous 12", Let 'Em Hang / Meltdown (Ad Noiseam, 2009), War In the Making / No Struggle (Ruff, 2008), and Fueling The Fire EP (Damage, 2008). In addition to the above mentioned names, this release is recommended for the likes of Reso, Innasekt, King Cannibal, and Hektagon.

See also Two and a Half Questions with Broken Note

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Jega - Variance (Planet Mu)

It took almost nine years for Dylan Nathan to return to the scene with his intelligent breaks and glitchy melodies, slapping it across the entire IDM spectrum under his Jega moniker. There were some hiccups in this release - the album leaked back in 2003, and Nathan chose to pull back the tracks, refile the scraps, and rearrange the bits into his third full length, double disk release, Variance. Here and now, Nathan brings back the vigor with which he left us with Geometry, once again selecting Planet Mu as the label of choice for his experimental beats. It's tough to approach the review of this album, especially since it spans across two discs and 18 tracks! I'll get right down to it, and skip the first volume altogether, which is melodic electronica and light IDM. The only reason I am jumping over the first disc, is because with the amount of great music on this double volume, I want to get straight to the goodness. Apologies for that, but I do not mean to send a wrong signal. So with your permission I'm moving on to the darker side of Jega, because the second disc is where he truly shines. Here, the random palette of synth melodies is replaced by the darker strand of electro, that breaks its jagged tooth against the broken beats. Atmospheric pads still linger in the background, while the front-lines are dominated by impeccable rhythm structures and a heavily processed dose of virtual effects. Synthesis geeks will be proud to hear their brains being tweaked through the naughty twists of Jega's ridiculously time-consuming production. I have a feeling that it took Nathan nine years to release this album simply because he chose to tweak every possible VST plug-in out there and throw each and every one of them into the mix. Variance is like a detox manual for DSP junkies on a thousand ways to mess up the beat. Listening to Latinhypercube I find myself cringing my nose and going "What in the world was that?" Drilling rhythms decompose into voices, into flashbacks of a bad trip, into sick mental sound too crippled to dance. A few tracks (like Aerodynamic and Kyoto) remind me of Chris Cunningham's short film, Rubber Johnny, where an erratic and delusional mutant child is dancing in his wheelchair to a spasmodic beat of Aphex Twin's "afx237 v7" track taken off of his album drukqs (2001, Warp). Looks like Cunningham may have a new challenge! For the full background on Nathan's history, see my Headphone Commute flashback to Geometry where you will learn of his releases on Skam and Matador, as well as his influence on Mike Paradinas (µ-Ziq) and the beginnings of Planet Mu. This album is a must have for fans of Autechre, AFX, Wisp, Squarepusher, Clark and all things juicy erratic. Come and get your fix.

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Lusine - A Certain Distance (Ghostly International)

Has Lusine turned almost pop? Well, not quite. If so, then pop music has never sounded so good! But peel back the vocals from the foreground, appearing on a few tracks by Vilja Larjosto and Caitlin Sherman, and we are left with the good old electronic sound of Lusine, known for his lush ambient soundscapes, organic catchy melodies, and solid punchy beats. With his 9th full length album, A Certain Distance, Jeff McIlwain continues to evolve his production skills, articulate composition, and unique staple sound, creating a downtempo album, with a lighter upbeat feel. Jeff has been releasing music on a variety of prominent labels, entering the spotlight since his 1999 debut, L'usine. When his music reaches InterContinentaL barriers, he appends an ICL suffix to his alias. Hence, all of his releases on the German Hymen label are under Lusine ICL, including my absolute favorite ambient marvel, and a top favorite of Headphone Commute's from 2007, Language Barrier (Hymen, 2007). The Lusine moniker appears mostly on all domestic labels, such as Ghostly International. Over the contemplating chord progression and occasional vocoder phrases, familiar elements introduced in the above mentioned Language Barrier, appear in a subliminal field of sound. These are the ambient pads, accented with microscopic percussion bits, creased into crumbled lo-fi beats, and smoothed out on a sonic surface. Just as the vocoder maps the frequencies of sampled voice over synthesized chords, Lusine succeeds in "mapping human emotions via technology". The Two Dots EP released by Ghostly prior to the album, has set expectations for Certain Distance, with its memorable hook completely consuming my auditory memory until I admitted my defeat on Headphone Commute's 20 EPs of 2009. The rest of the tracks on the album, deserve a 12" EP each on their own. Each is a unique exploration of the marriage between organic and laptop, downtempo and dancefloor, tech house and pop. Highly recommended.

See also Two and a Half Questions with Lusine

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Mr. Projectile - To The West (Semisexual)

Mr. Projectile... He's back! After a five year silence, Matthew Arnold returns with his fourth full length album, To The West, and thrusts it right back up in our $%@#ing faces. The last time I marveled at Arnold's intricate IDM production skills was back in 2004, on the beloved Merck label with his release, Sinking. Following that, there was a two-track 12", Momentary Lapse Of Sensitivity (Semisexual, 2005). In 2007, Merck closed its doors, and for years I mourned the loss of the artists left stranded amidst the disintegrating landscape of dying labels. Until finally, out of nowhere, Arnold drops another bomb on his very own Semisexual imprint, for all the hungry ears. The sound will always find the way. Laced with a few short ambient pieces, To The West plays like a trip through a slinky, wobbling down the psychedelic stairs. Using a few of familiar sounds that my ear got accustomed to from Sinking, Arnold teases us with a few intelligent progressions and then slams a dark electro beat, full of 303-esque acid bass and dazzling arpeggios. Expert knob twiddlers will pick up on the analog sounds of Nord Modular and the unmistakable flavor of x0xb0x (pronounced "zocks box" by the way). Although I can't name the sounds of a drum machine (I'm not that good), the percussion is solid, tight, and very satisfying, ranging from the above mentioned electro patterns to the unrestricted domains of IDM. Arnold's beatless pieces are just as satisfying. Leaving Burning Man uses an accented bass line to set the progressing melody beneath the swirling ambient sweeps. And the mind bending twists of glitching and stuttering rhythms of Information Doubling nod to the sound of Autechre with that hidden gem that only reveals itself upon repetitive listens. And then there is my nostalgic love for all the scents of 303, that gets satisfied with an occasional prairie dogging of sound hiding just beneath the surface. And while the beat carries the movement forward, hazy melodies break through electrified cobwebs of sound to leave their unforgettable imprint. Delicious. Although, as of this writing, the Semisexual label's page is reduced to a sparsely updated blog with past touring schedules, the album can be picked up from a handful of digital outlets, like Addictech. And seriously, while shopping, don't forget to add Sinking (Merck, 2004) to your cart - you will not be disappointed - the album is still in my rotations after all these years.

See also Two and a Half Questions with Mr. Projectile

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Richard Skelton - Landings (Type)

Richard Skelton's songs don't tell a story. They describe a place, a landscape. No... that's not quite right. They're more like a part of the landscape. On Landings, his remarkable new album, the rugged and earthy texture of the strings, gentle guitars and densely layered assorted acoustic instruments, all played by Richard himself, meld with field recordings of babbling brooks, the breeze and bird song. It all feels like it emanates from the same source. The songs on Landings don't contain much in the way of development. No build-up, no climax, no resolution. Instead each song is a portal into a particular setting... or state of mind. You step in, breath in the fresh air, the breeze ruffles your hair and all you can do is marvel at Mother Nature's handiwork. Landings is the product of four years of recordings that Skelton did in Lancashire's West Pennine Moors in Northern England, close to where he grew up. When originally released on his own Sustain-Release imprint, the CD was accompanied by a book with the same title that collected Skelton's writings, including diary entries, word lists, poetry and prose fragments from 2004 to 2008. Together, the writing and the music were his way of trying to engage with the landscape. Unfortunately, the book appears to be sold out but Type has thankfully rereleased the music. There's an undeniably mournful undertow to the album, a reflection of the rugged nature of the Moors no doubt, but it probably also has a lot to do with the fact that the album is dedicated to his late wife, Louise. In a recent interview with Title Magazine, Skelton explained that to him his music is an intensely private thing. In addition to being a way to connect with a place, it's a vehicle through which he deals with his loss and memories. There's a strong sense of ritual about the way he approaches this endeavor. He buries his strings deep in the soil, he takes stones from the ground in a particular place and knocks them against the body of his violin. This may not make a very tangible contribution to the recordings but the ritual is an important part of the act of making the music. There's something so solemn and beautiful about this process, and it displays an incredible dedication and commitment. Skelton has released music under a number of guises in recent years - A Broken Consort, Carousell and Clouwbeck. Landings is the second album in a row that he releases under his given name. A sign that he has well and truly come into his own.

See also Two and a Half Questions with Richard Skelton

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Rameses III - I Could Not Love You More (Type Records)

After a string of releases and collaborations on various labels over the last few years, London based trio Rameses III released I Could Not Love You More on the always intriguing Type imprint in the fall of last year. It is a soothing and pastoral album full of lush drones and ambient soundscapes. Combining acoustic guitar, lap steel, loops, voice, synths, and field recordings of idyllic summer days, Daniel Freeman, Spencer Grady and Stephen Lewis, have composed a relaxing and intimate album reminiscent of Brian Eno, Helios, Mountains, and Klimek. Like all good ambient and modern classical, there’s a sense of weightlessness to Rameses III’s music, yet there’s still an inherent feeling that a band is playing this music — it’s not overly produced, it’s soft and very organic. Tracks like “All Shall Be Well” and “Cloud Kings” play up the trio’s love for sprawling drone, while tracks “Across The Lake Is Where My Heart Shines” and “No Water, No Moon” are more song-like in composition, where the instruments maintain their sonic shape, rather than morphing into a whir of sound. The album conjures up a sense of nostalgia that I cannot quite put my finger on. Listening to it makes me feel a closeness to the past, a nearness, a uniformity even, to a forgotten yearning from years before. The beach side samples in “No Water, No Moon” reminding me of summers come and gone — the soft strum of guitar creating a wall of white nostalgia, visceral feedback reverberating in my ears — as the band’s use of haunting vocals brings me back to the surface of my present, and I realize I’ve just totally zoned out on the streetcar and missed my stop completely. Such is the beauty of music, and such is the aural allure of Rameses III’s I Could Not Love You More, which ranks as one of the best ambient, modern classical albums of 2009. Check it.

See also Two and a Half Questions with Rameses III

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RJD2 - The Colossus (RJ's Electrical Connections)

Producing for over a decade, Ramble Jon Krohn, aka RJD2 is back with his fourth full length studio album, and all of the hype lives up to its expectations! With intricately cut up samples, funky percussion and original soul vocals, Krohn crafts an album full of tracks that have originally captured my attention back with Deadringer (2002, Definitive Jux). Two years later, Krohn has absolutely swept me away with his original take on instrumental hip-hop with Since We Last Spoke (2004, Definitive Jux). In 2007, Krohn got signed to XL and released The Third Hand, which is also available as an instrumental-only version. Getting signed on a major label landed Krohn on the road, touring extensively for two years. The mixed reviews and the constant performing must have been tiring... In 2009, he decided to take it easy, launch his own label, RJ's Electrical Connections, and get back to his original sound. This move is definitely welcome. The Colossus is the first new album for his label, on which he already re-released the extended version of The Horror EP, enhanced with a second disc full of live footage and the making of the music video; and a boxset of 12", reissuing Deadringer, The Horror, Since We Last Spoke, and Tin Foil Hat. The latter is a super nice limited release for all the collectors, titled 2002-2010. The Colossus is immediately solid, fresh, and welcoming to an audience looking for those soulful sounds and laid-back beats. Featuring vocals from Kenna Zemedkun, Phonte Coleman, Aaron Livingston (as well as a few of his own), and the raps of The Catalyst, Illogic and NP, the album lightly skips across songs and instrumentals, demonstrating that Krohn feels back at home, in his own studio, on his own label, doing exactly what he always loved to do! With The Colossus, RJD2 is back, and fans of instrumental sampled funkadelica will not be disappointed! Be sure to also dig up RJD2's obscure funky 39-track mix, Your Face Or Your Kneecaps, also known as Poorboy Lover Megamix, if you can find it in the archives. If you've never heard RJD2 before, prepare to fall in love if you enjoy DJ Shadow, Cut Chemist, Blockhead and Prefuse 73. And... start with his earlier output and work your way up to The Colossus.

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Beta Cloud - Lunar Monograph (Laughing Bride Media)

It's easy to write about beautiful music. When the ambient pads wash over the gentle picks of a guitar and the distant eavesdropping of radio frequencies, it's easy to write. When the soft piano chords are smothered in a generous dose of warm reverb, spreading over the field recordings of a rainy city street, it's easy to write. When the music itself draws on the images of time slowly passing by as the world is drowning in the Sea of Tranquility, it's easy to write. It's easy to share these words with you about the music of Carl Pace, because it simply speaks for itself. And these words are just the outcome. Composing under the Beta Cloud moniker, Pace has had the pleasure of performing and releasing music with Aidan Baker - An Open Letter To Franz Kafka (2007), and Lull - Circadian Rhythm Disturbance (2008), all being published on Laughing Bride Media. But forget about name dropping for a second, and get immersed in the ethereal drift of weather torn sounds. In between the frequency currents, Beta Cloud's third full length album, Lunar Monograph, stands out on its own, setting up the mood for all the ambient sounds of 2010. The tracks on the album are named after the large, dark, basaltic plains on the Earth's Moon, known as Lunar Maria. This is where the titles for Marsh of Sleep, Sea of Rains, Bay of Billows, and the above mentioned Sea of Tranquility come from. The latter, a 21+ minute ambient soundscape, full of blissful white noise, bird sounds, and acoustic wind, is drenched in a strumming of a shoegaze guitar, organic chords, and ghostlike sounds of the sleeping world. A stunning mediation on our natural satellite. To reveal more of the concept behind the album, Carl Pace explains: in a broad sense, [the album] addresses our own perceptions of our lives; the world around us, the moon above, and what lies beyond that; the waxing and waning of our own personal existences. and in a very broad sense, it addresses the concept of 'lunacy'. there's a quote from carl sagan on the inside sleeve of the disc that reads: "We knew the Moon from our earliest days. It was there when our ancestors descended from the trees into the savannahs, when we learned to walk upright, when we first devised stone tools, when we domesticated fire, when we invented agriculture and built cities and set out to subdue the Earth. Folklore and popular songs celebrate a mysterious connection between the Moon and love." i think that sums it up nicely. The Lunar Monograph, or a concise study upon this very specific single subject, has been composed in the span of about three years. The result is an album with ideas borrowed from live performances, studio pieces, and field recordings, folded neatly into a sonic package, and delivered directly onto the doorstep of your soul. For the source of the material, Pace compiled recordings of "some of the beautiful things in life that we take for granted every day due to sensory overload, subway chatter of several voices in NY and Toronto that become one cacophonous and expressive voice in the process, beautiful thunderstorms that lull us to sleep on summer nights, the sounds of birds in my garden that i watch flourish and wither without fail every year, fireworks displays where people gather almost instinctively to realize that there is something greater than we out there. and others..." With the artwork by Chase Middaugh, and mastering by James Plotkin, Lunar Monograph will surely please the fans of Tim Hecker, Lawrence English, Simon Scott, and of course, Taylor Deupree and his 12k output. If I'm doing another Best of 2010 list the same way next year, then Lunar Monograph, will surely get filed under my Music For Bending Light and Stopping Time category. Highly recommended.

See also Two and a Half Questions with Beta Cloud

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Sound Bytes

OK. I give up. There is just no way that I can cover all of the wonderful music out there. There's just not enough time! But I still want to tell you about all of the amazing releases that come across my desk. So I'm introducing a new feature on Headphone Commute. It's simple and straight to the point. I'll call it Sound Bytes. A few quick thematic vignettes and mini-reviews of some of my favorite releases. So let me kick off this feature with three recently enjoyed EPs.



Clem Leek - Snow Tales (Experimedia)
First up is a five track EP from Clem Leek. Consisting of four numbered Snow Tales and a remix, this collection of modern classical and ambient pieces is a sublime journey into the mind of this up-and-coming musician. Each piece has been composed in just two days, while Leek was observing the snow falling outside of his house. The release is accompanied by six beautiful photos, that Leek took with his Polaroid camera as soon as it started snowing. I close my eyes and listen to the tales. Somewhere in the background there is a roll of thunder. Ambient soundscapes, stringed instruments and endless pads swirl beneath the gentle piano keys and drifting vocals to evoke the feelings of stillness, falling, and contemplation. Oh, and did I mention that the EP is available as a FREE digital download from the one and only Experimedia? What else can one ask for? Don't forget to also grab Clem Leek's debut EP, Through The Annular, which is available from his own label, Schedios, and his bandcamp page. Also, looks like Clem Leek will be performing alongside Simon Scott and Machinefabriek on May 19th, 2010 (more info). Fans of Max Richter, Jóhann Jóhannsson, Nils Frahm and Keith Kennif will surely enjoy.



Rafael Anton Irisarri - Reverie (Immune)
This is the second EP by Rafael Anton Irisarri on the Thrill Jockey distributed label, Immune, and I'm already all over it. His last EP on the same label was a beautifully packaged two-track 7" vinyl, titled Hopes and Past Desires. With only three tracks, Irisarri crafts one of his best releases. Seductively constrained musical phrases, barely audible scratches, and incredibly tender piano notes encompass sorrow, longing, and nostalgia. Although three years apart, Reverie seems almost an echo of Irisarri's similarly titled debut full length, Daydreaming released on Miasmah. "Für Alina", the third 13+ minute track on the EP, makes me feel like I'm eavesdropping on a piano confession, sharing intimate moments of deep solitude through a lens of a vast ambient distance. This piece is a rework of Arvo Pärt's likewise titled "Für Alina" - I'm pretty sure that Irisarri must be a fan of the Estonian's tintinnabuli style. And... now that it's not a secret anymore (since even Wikipedia quotes it), I'll be happy to reveal that Irisarri's side project is none other than The Sight Below, for which you must have read many praises already on these and other pages. Speaking of which, be sure to also pick up an upcoming TSB release in collaboration with Simon Scott, titled It All Falls Apart out on Ghostly International in April, 2010.



Simon Scott - Nivalis (Secret Furry Hole)
And that last sentence was a perfect segue into a new release by Simon Scott - a 16-minute single-track piece, released on a 3" mini CDr by Secret Furry Hole. This is the second release by Scott after his critically acclaimed Navigare (Miasmah, 2009). As interesting as it is, the EP was also written during a heavy snowfall late last December in Cambridge. Nivalis is Scott's "tribute to the winter, the snow and the beauty of how the seasons change here in England". Swells of strings are drowned in low-fi field recordings of Scott removing ice and snow from his doorstep, repetitive hypnotic patterns of organic soundscapes, and the distant, barely audible, subtle vocals. I mean, if you have to go out and shovel some snow, you might as well have Nivalis on, as a soundtrack. If not, go out and stare at the reflection of the moon, and slowly drift between the spaces. This is all there is - between the now and always - the isness. The EP is available directly from the label, but hurry - it is limited to only 200 copies! Be sure to also pick up other goodies from the label. Open your wallet and grab some limited releases by Buzz Aldrin, Hauschka, Glenn Johnson, Peter Broderick, His Clancyness, and the debut label release with collaboration by Library Tapes / Machinefabriek / Fabio Orsi / Die Stadt Der Romantische Punk - with compositions based on a sampled symphony by Henryk Gorecki.



Tortoise – Beacons of Ancestorship (Thrill Jockey)
Post-rock darlings Tortoise release their first album of new material in 5 years and it’s a complete return to form. Sounding like the proper follow-up to 2001’s Standards (Thrill Jockey / Warp / Spunk), Beacons of Ancestorship truly is a prog album. It is dirty and crisp, sounding like it was recorded underwater and in an air-tight studio at the same time. And as always, their sound is undefinable – dub, post-rock, lo-fi, electronica, dance, spaghetti western, jazz, classic rock, punk, it’s all here in a tight 45-minute set. What more can I really say? Tortoise’s musical influence really knows no bounds. They are one of the best bands in the biz and one of my all time faves. Catch them on their belated North American “Beacons” tour in early 2010. Love it. Beacons of Ancestorship is out on Chicago's Thrill Jockey label.



Mountains – Choral (Thrill Jockey)
Brooklyn duo Brendon Anderegg and Koen Holtkamp have released my favourite ambient/modern classical album of the year. Mountains are up there with Marsen Jules and Loscil for me, because with Choral they have crafted a beautiful album that expertly blends the organic with the digital – seamlessly meshing acoustics with electronics to fantastic effect. I have been lulled to sleep by this album more than any other this year, but have also enjoyed it in the early mornings, and while reading and writing. Their live show at The Music Gallery in Toronto was one of my favourite live shows of the year. Using guitars, synths, accordion, melodica, voice, two Powerbooks, and lots of other toys, they created a whitewash of introspective and hypnotizing ambience. Choral is also out on above mentioned Thrill Jockey. They also have self-released their Tour CD as well as another limited edition CDr, Etching, which has been repressed by Thrill Jockey on vinyl.



Sleeping Me – Lamenter (Phantom Channel)
Sleeping Me is the moniker of guitarist Clayton McEvoy who makes sweeping ambient compositions that are reminiscent of Stars of the Lid, Harold Budd, and Brian Eno. McEvoy uses only guitars and an array of pedals to create his droned out sound. The result is a relaxing and dulcet lull that is perfect for morning coffees or an absorbing book before bed. McEvoy also put out an album entitled Cradlesongs (Hidden Shoal) earlier this year, but it is hard to find, so I have not heard it in its entirety. However, if Lamenter is any indication, it too is sure to be ideal listening for shoegazers, just in the horizontal position. Lamenter is available as a free digital release directly from Phantom Channel (see web releases on the label site). While you're there, be sure to grab a few goodies by Konntinent, Language of Landscape, Inverz, and Ian Hawgood.



Bonobo - Black Sands (Ninja Tune)
Simon Green returns with his fourth album as Bonobo, and it's more incredibly solid, future jazz material. With Days To Come (Ninja Tune, 2006), Green was bit by the vocal bug, and the vocals were the showpiece of that album. With Black Sands, he still has some vocals, but not as many, and they're more reeled in to be in balance with the beats (he's also using Andreya Triana as his muse, instead of Bajka). Speaking of the beats, you can tell Simon's been listening to some of the wonky instrumental hip-hop that's been coming out, as things get more hyper-active than ever on tracks like "Kiara", which feature chiptunes and cut-up vocal samples playing off each other. But this is not a wonky album. Green layers these sounds with Eastern influences and the ever-present jazz sounds to make this a work firmly entrenched in his style, just amplified a bit by current events in hip-hop. The basslines on this album are some of Bonobo's best. "Kong" and "The Keeper" rival anything on Animal Magic (Tru Thoughts, 2000). A good mix of old and new from Bonobo, and another wonderful album.



Bibio - The Apple And The Tooth (Warp)
Stephen Wilkinson, aka Bibio, continues to churn out quality, in what has become his breakout year. Two albums and now two EP's - this one with 4 new tracks and 8 remixes, it's basically another full length. The new tracks start the show, and are fantastic. The title track perfects the folk-hop template while maintaining an energy most releases in this style can't compete with. It bleeds directly into "Rotten Rudd", which slows things down before becoming an anthemic sing-a-long. "Steal The Lamp" retreats from a Jaga Jazzist style opening into a Squarepusher style d'n'b freakout at the end, showing that Bibio still has more sounds he's willing to tackle. On the remixes side, highlights are Lone's effort, which throws the original sounds into a blender to create a smoothed out hip-hop groove. Leatherette's cut-up, pitchshifted version of "Lover's Carvings" takes some getting used to, but its lounge feel is too cool to be denied. Another highlight is Bibio's own rework of "Palm Of Your Wave", which takes the original tune to new heights. Another excellent release. Pick up your copy directly from Warp.



Kelpe - Cambio Wechsel (DC)
Kel McKeown returns with his third album after Ex-Aquarium (DC, 2008). I first became aware of Kelpe with his debut album Sea Inside Body (DC, 2004). His aquatic themes and pure electronic sound were very captivating. When he returned four years later with Ex-Aquarium, the aquatic obsession was still there, but an influence by actual instruments totally transformed his sound (in a good way) in that it almost sounded like two different artists. Cambio Wechsel seems to have merged the sounds of those two albums. He also pulls some retro funk samples into the mix in a very compelling way. It seems to blend perfectly into his sound's aesthetic. Squelchy bass is the backbone of Cambio Wechsel, which gives the album a much more hip-hop vibe than Ex-Aquarium (which came across as more folktronic to me) but Kel takes it away from the normal dirty hip-hop setting as much as is possible, converging it with the aforementioned funk, as well as folk, jazz, psychedelia, and kraut-rock. The overall effect is funky without being clubby. It's a totally new sound, and that's what Kelpe has been missing before, its own sound. With Sea Inside Body, it sounded like a lot of other IDM at the time. With Ex-Aquarium, it sounded like Four Tet. With Cambio Wechsel, it sounds like Kelpe. Available from D. C. Recordings.

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last.fm artist and label cloud mentioned in the above post: William Basinski, Richard Chartier, Bonobo, Bajka, Bibio, Jaga Jazzist, Squarepusher, Lone, Kelpe, Yann Novak, Taylor Deupree, OVERCAST SOUND, Alva Noto, Ryuichi Sakamoto, Tu M', Cole Pierce, Cell, Aes Dana, H.U.V.A. Network, Solar Fields, Hol Baumann, Tortoise, Mountains, Marsen Jules, Loscil, Sleeping Me, Konntinent, Language of Landscape, inverz, Ian Hawgood, Stars of the Lid, Harold Budd, Brian Eno, Nest, Deaf Center, Svarte Greiner, Biosphere, Deathprod, Peter Broderick, Max Richter, Jóhann Jóhannsson, Helios, Jacaszek, Ólafur Arnalds, Clem Leek, Simon Scott, Machinefabriek, Nils Frahm, Keith Kennif, Rafael Anton Irisarri, Arvo Pärt, The Sight Below, Buzz aldrin, Hauschka, Glenn Johnson, Peter Broderick, His Clancyness, Library Tapes, Wolfgang Voigt, Gas, Marsen Jules, Klimek, Andrew Thomas, Markus Guentner, Donnacha Costello, Triola, Thomas Fehlmann, Brock Van Wey, DJ Koze, The Orb, Jürgen Paape, Bvdub, frank riggio, Amon Tobin, DJ Shadow, Aphex Twin, Autechre, Vladislav Delay, Lulu Rouge, Yagya, Trentemøller, Hammock, Konntinent, B.J. Nilsen, Broken Note, DJ Hidden, Enduser, Hecq, Reso, Innasekt, King Cannibal, Hektagon, Jega, AFX, Wisp, Squarepusher, Clark, Lusine, Lusine Icl, Mr. Projectile, Richard Skelton, A Broken Consort, Rameses III, Brian Eno, Helios, Klimek, RJD2, Cut Chemist, Blockhead, Prefuse 73, Beta Cloud, Aidan Baker, Tim Hecker, Lawrence English, Ninja Tune, LINE, Tru Thoughts, Warp, DC, Dragon's Eye, Ultimae, Thrill Jockey, Spunk, Phantom Channel, Serein, Type, Miasmah, experimedia, Immune, Kompakt, Spectraliquid, Spekk, Touch, Ad Noiseam, Planet Mu, Ghostly International, Hymen, merck, XL, Definitive Jux, Laughing Bride Media
]]> http://www.last.fm/user/liftmuziek/journal/2010/02/20/3fkzy0_reflections Sat, 20 Feb 2010 14:45:34 +0000 http://www.last.fm/user/liftmuziek/journal/2010/02/20/3fkzy0_reflections

I just finished publishing the last batch of Reflections... These miniature thoughts on the music of 2009 from artists and labels offered a rare glimpse into the minds behind the music itself.

Check out all of the Reflections by Nao Sugimoto of Spekk, Hammock, Ólafur Arnalds, Konntinent; Igorrr and IJO; Bruno Miguel of :Papercutz; Phylum Sinter; label owners of Flingco Sound System and Indian Queen Records; Rob Booth of Electronic Explorations podcast; Jacaszek, Locrian and Jatun; Rafael Anton Irisarri, Richard Chartier of 12K and Ian Hawgood of Home Normal; A Lily, Xela, Yndi Halda, Rivulets, Sylvain Chauveau, Sam Amidon, Bitcrush, Helios, Goldmund, Mint Julep, Arca, On, Ensemble 0, Doveman, Stars Like Fleas; Nicolas Chevreux of Ad Noiseam; Yann Novak, Porn Sword Tobacco, Wes Willenbring; Stephan Mathieu, Offthesky, Paavoharju, Worriedaboutsatan, Klimek, Simon Scott...

See all of the above entries for Reflections on 2009 on Headphone Commute.]]> http://www.last.fm/user/liftmuziek/journal/2010/02/08/3eg4y0_10_questions_from_headphone_commute Mon, 8 Feb 2010 11:59:28 +0000 http://www.last.fm/user/liftmuziek/journal/2010/02/08/3eg4y0_10_questions_from_headphone_commute I know how most of you hate these surveys, but I promise you that this one is not for gathering and selling any of your information. I'm just trying to fine tune Headphone Commute and concentrate on areas that may require improvement. There's no need to waste my time and energy publishing on myspace if no one reads it there, right? So if you can spare a few seconds and just click through these questions, you would help me take Headphone Commute to the next level...

Take the 10 Questions]]> http://www.last.fm/user/liftmuziek/journal/2010/01/24/3d6hib_headphone_commute_reviews_%28january%29 Sun, 24 Jan 2010 23:00:57 +0000 http://www.last.fm/user/liftmuziek/journal/2010/01/24/3d6hib_headphone_commute_reviews_%28january%29 Here's another quick update with Headphone Commute reviews since the last post in October. There may be only a few on here, but they are definitely the good ones! Plus each one comes with Two and a Half Questions with the artist! Meanwhile, I have finally finished my Best of 2009. Plus we now host Exclusive Mixes from some of our favorite artists! Check out the latest mixes from Jasper TX, Klimek, and Hecq!!! As usual, I would appreciate a comment or two, and recommend that you Subscribe to RSS Feed.

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Talbot & Deru - Genus (Ant-Zen)

The sound is born out of electric static, slowly penetrating through the thick veil of noise until it rolls over a thump. The tremolo affected voices grow into a ten part choir consisting of members of Tenebrae professional chamber choir. The strings provided by The Duke Quartet become rhythmical, accentuated by a pulsing metallic micro beat, until with a swoosh of white noise, resembling a raging storm, this progression evolves into something bigger, stronger, and primordial. Enter the sound of Genus - an electro-acoustic score for the ballet choreographed by award-winning Wayne McGregor. Commissioned by The Paris Opera Ballet, the work is based on Charles Darwin's discovery of evolution. Hence the growth, the organic development of the sound, and "the musical evolution of [its] own", as adopted throughout this eight-part composition by Joby Talbot and Benjamin Wynn. Since I started talking about the composers, let's get all the credits over with. Los Angeles based Wynn should be already known to the electronica and IDM community as Deru. He has released two solid albums, Pushing Air (Neo Ouija, 2003) and Trying To Remember (Merck, 2004). Both of these, along with a 10" single, Pushing Soil (Delikatessen, 2004) are among my top absolute favorites. Wynn's ability to create crispy, glitchy, hip-hop influenced rolling-bass rhythms got me bopping my head, and hunting down everything that he touches. Genus is no exception. It's no wonder that Ant-Zen picked up this amazing release. No wonder at all. Talbot is a British film and TV composer. With numerous commissions from the BBC Symphony Orchestra, London Sinfonietta and the BBC Proms, Talbot is known for his musical arrangement for The League of Gentlemen and a soundtrack for The Hitchhiker's Guide to the Galaxy. Talbot's previous ballet score experience includes an orchestral arrangement of music by The White Stripes for Chroma. His education in composition at both Royal Holloway and Bedford New College completes the qualifications required to produce this haunting piece, and I have no doubt that Genus will be added to his further list of outstanding accomplishments. Spread over eight tracks (and 44 minutes), the released score is actually made up of three movements: The Transmutation of Species, Genus and The Great Tree of Life. Each part is considerably different then the previous. On Genus, for example, Louisa Fuller picks up her violin and guides us towards the mathematical passage of neo-classical progression with a slight touch of time-based effects. Released by Ant Zen in collaboration with Dear Oh Dear Records, the CD edition is limited to 100 copies, including a hardcover sleeve and a 20 page booklet. The disc also contains two video clips and a digital document. This is a marvelous release. And when it rolls over you with its top notch production, expert composition, and overwhelming concept, you can't help but play it again. Be sure to also keep your eye on Deru's upcoming album, Say Goodbye To Useless, which is scheduled to hit the streets sometime in early 2010 on Mush Records.

Two and a Half Questions with Deru

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DJ Hidden - The Words Below (Ad Noiseam)

Noël Wessels wants you to think everything's going to be okay -- that the storm has passed, the survivors are carefree and strong, and that, should trouble rear its ugly head again, there's a good chance of escape. Turns out, the kind locals are killers. And, surprise surprise, the lovable protagonist is secretly mad, and growing madder. What could have been so perfect, so hopeful or so noble is now utterly screwed up, and we never saw it coming. This is how DJ Hidden wanted it. It doesn't feel like two years have passed since the Dutch d'n'b producer's directorial debut The Later After (Ad Noiseam, 2007), because 2009's sequel, The Words Below, appears to have picked up the narrative exactly where the former left off. The world is still vastly in disrepair, but the dust has settled some, and from it emerges a new, more powerful threat. A hunter-turned-scavenger, Wessels picks through the rubble of his own devastation with an even craftier, time-tested set of breakbeats, basslines and breakdowns. His drum'n'bass DNA has mutated to the point where it can not only withstand the new wilderness, but match its hostility blow for blow. It's a minute-thirty into "Broken Seconds", and I'm being chased down. I didn't get a good look at it, but it's big and it's fast. I'd take refuge in an abandoned building if it weren't for the fact that the buildings here aren't completely abandoned. It wasn't enough that I was on my guard. Planned a strategy. It got the better of me anyway, and now I've dug myself a dank little trench here in the dark. I'm as still as the grave, but I'm sure my scent will give me away. Dear God, I can feel its breath on the back of my neck. This is it. Like its predecessor, it's impossible not to weave some story around each track on The Words Below. From its epic opener to introspective, quasi-dubstep moments like "It Feels Wrong," to the packaging of the album itself, care has been taken to inflame your senses, string you along, and make you get your hopes up before vivisecting you while you watch. Even those who enter cautiously are sure to be toyed with. Repeated listens may well land you dribbling in a padded cell, nightmare and reality fused, begging for mercy. DJ Hidden offers only one kind, and it's permanent.

Two and a Half Questions with DJ Hidden

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Corey Fuller - Seas Between (Dragon's Eye)

Opening in mist, with disassembled activity both hidden and continuous, Seas Between is a work containing the solemnity of temporality, trembling tenderness, and the brightest side of sightless imagination. Corey Fuller was born in the United States, but while still very young, he relocated with his family to Japan, where he spent the next 20 years, before returning to the United States to live in Washington state. December 2009 marks the release of his first solo album, and his return to Japan with his own family, to live and work. The album represents both a literary and imaginative vision of home and the distances between, a document of the placement and creation of a convolved third-culture reality. Seas Between was created using an expansive assortment of acoustic instruments, including piano, prepared piano, Rhodes electric piano, pipe organ, pump organ, vibraphone, pianica, accordion, acoustic/electric guitars, Gamelan bells, Thai finger cymbals, assorted percussion, and found objects. Field recordings were given delicate attention, including room tones, contact microphones, hydrophone recordings of both shores of the Pacific Ocean, field recordings from Japan and Washington, reel to reel tapes, cassette tapes, and analog tape delays. Custom software was also employed to create a convolved, indeterminate blend of instruments. In addition to the above mentioned palette, a group of collaborative musicians contributed work, such as John Friesen on cello, Tyler Wilcox on saxophones and bass clarinet, and Tomoyoshi Date on piano and electronics. Their contributions further complete a graceful warmth, to an already startlingly pronounced recording of poetic allusion, uncertain acceptance, and hazed mystery. Throughout the 45-minute work, clarity is demonstrated through swelling, warm tones, acute instrumentation, combined with the chill of the ocean breeze, and the indistinguishable traits of swirling, impermanent images. Beside crisp crescendos of the early morning dawn, foamy field recordings are hidden in the fine clouds; a formed, thin film, hidden in winter's winds. In Seas Between, here falls the shadow, between essence and descent, longing and fulfillment, wholeness and brokenness. The sense of separation and constant longing is ever-present, in our surroundings that are unwavering, but often unpredictable as the sea.

Two and a Half Questions with Corey Fuller

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Monolake - Silence (Imbalance Computer Music)

It goes like this. I wake up in my abandoned shelter made of found brick and metal scraps. It's been raining for over a month now. But the water collecting in the corners is undrinkable. It is full of ash and oily fluid. There is only one way out of here. I step outside into the eternal darkness, and climb the nearby unrecognizable object. Far ahead is a column of rising smoke. The electrical storm rolls in the distance. I start walking towards the echo of a machine made rhythm. I feel sad for our abandoned planet. And I don't have any hope for survival. The liner notes of Monolake's seventh album, Silence, tell a different story. But in my mind, there is my own. Either way - the story is futuristic, full of tension, survival, and hope. The words are reflected in music, composed by Robert Henke during the last year leading up to September 2009. Henke's staple sound has created a whole new branch of style springing off of minimal techno. This metallic, atonal, and rhythm driven mathematical progression captures your nerve endings, and sparks through your cells. The cavernous area of your head that was once possessed by thought is now a plausible site for transmission. On Silence, Henke moves further away from the four-to-the-floor pounding beat towards a dark, and groovy rolling pattern, that must be heavily influenced by dubstep. That's not a surprise, considering that Monolake's new partner in crime, Torsten Pröfrock, has recently bridged the gap between dubstep and techno by remixing Shackleton's Death Is Not Final as T++. The influence is contagious. And in this chain reaction Henke creates his own style. And the production? It's pristine! I fought the following thought for a while, and finally decided to break down and directly quote the first part of production notes: Sound sources include field recordings of airport announcements, hammering on metal plates at the former Kabelwerk Oberspree, Berlin, several sounds captured inside the large radio antenna dome at Teufelsberg, Berlin, dripping water at the Botanical Garden Florence, air condition systems and turbines in Las Vegas, Frankfurt and Tokyo, walking on rocks in Joshua Tree National Park, wind from the Grand Canyon, a friends answering machine, a printer, conversations via mobile phones, typing on an old Macintosh keyboard and recordings from tunnel works in Switzerland. Synthetic sounds created with the software instruments Operator, Tension, Analog and the build in effects inside Ableton Live. Additional sound design and sequencing using MAXMSP / MaxForLive. Additional reverb: various impulse repsonses via Altiverb. Composed, edited and mixed in Live with a pair of Genelec 8040s. Mastering by Rashad Becker at Audioanwendungen September 2009. Field recordings captured with a Sony PCM D-50. I'm not going to waste your time here, and tell you about Henke's contribution towards the evolution of sound on more than one physical plane - you can read all about contributions towards Ableton or his own designed midi-controller Monodeck on Wikipedia. What I want to capture here is how this album made me feel. And that indescribable feeling is pretty close to what I felt for the first time when I heard Plastikman's Sheet One back in 1993. Since then I've been jonesing for more. And Henke has finally hit that spot. His Silence is the answer. Silence is released on Monolake's own label - [ml/i] (Monolake / Imbalance Computer Music), and is available in CD, digital, and 2xLP formats. This release follows Monolake's recent two track EP, Atlas / Titan which was in turn remixed by T++. There is also a 60-minute single track, endlessly permutating atmospheric installation piece released by Robert Henke this summer, titled Indigo_Transform (Imbalance Computer Music, 2009).

Two and a Half Questions with Robert Henke

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Clint Mansell - Moon (Black Records)

There is something peculiar about soundtracks. This is music composed specifically for the moving images on the screen. But why should it be limited to film, and not accompany the daily scenes of life or stunning visuals behind my eyelids. I close the door behind me and set towards my commute to work. The music somehow follows every turn and step I make. It swells in crescendo and dies out in silence in all the right places. Or maybe it's the other way around. It is the music that drives my thought patterns. The drums marching me towards determination, the soft piano guiding me forth to acceptance. This is Clint Mansell's yet another film score that goes onto my permanent rotations. Starting off his career as a lead singer and a guitarist for Pop Will Eat Itself, Mansell ventured into creating his first films soundtrack for Darren Aronofsky's debut film, p. Placing his compositions among the works by Autechre, Orbital and Aphex Twin (among many others), Mansell set off on a new path in writing cinematic music. Two years later, in 2000, Mansell became a star composer among the cult followers, with his soundtrack release for Aronofsky's Requiem for a Dream performed by the Kronos Quartet. The rest is history. Among my favorite works by Mansell are his soundtracks for films like The Fountain, Smokin' Aces, The Wrestler, and now, Moon. The music conveys the feelings of ambient longing, rhythmic anxiousness, and atmospheric nostalgia. A minimal piano melody is at the center stage of each piece. Propelled forwards by this unifying theme, each variation on the main melody evokes a new emotion. Being absorbed within this repeating cinematic pattern over 55 minutes of music, puts me in a mild trance. Hard as I try, some tracks move into the background of my consciousness, as my thoughts trail away, only to be awakened into this gloomy reality with a familiar pattern, as if on a queue by a hypnotist. I am writing this review without having seen the film yet. And that's just as well. I am bonding with the music on a whole different level. And when I finally see the movie, it will be as if a good old friend is playing in the background. I think that it's more than a metaphor. It is exactly the case.

Two and a Half Questions with Clint Mansell

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Rena Jones - Indra's Web (Cartesian Binary)

It's not so uncommon to see classically trained pianists turn to electronic music production. After all, it's not a huge stretch from the piano to a midi controller keyboard. It's considerably rarer to find producers who are actually cellists and violinists by training. But Rena Jones is certainly not your garden variety producer. She's a multi-instrumentalist and sound engineer with more than 20 years of classical violin study and 12 years of the cello behind her. That background is reflected in Indra's Web, her fourth solo album and the first on her newly established label, Cartesian Binary Recordings. Indra's Web weaves together weighty downtempo electronica with swooning modern classical, with Jones backed up on more than half of the album by three string players from the New Millennium Orchestra. Jones is also credited with vocals, mixing, programming and Rhodes, and the album also features a live drummer, a clarinetist and a vocalist. In addition to the graceful strings, the album is marked by a hefty bottom end and gently skittering percussion as well as the intricate and spellbinding compositions, which do full justice to the album's name. Indra's Web is a metaphor found in Buddhism and Hinduism for "the structure of reality, representing the interconnectedness and interdependency of all things, describing a rich and diverse universe where infinitely repeated mutual relations exist between all of its elements and entities." That's as good of a way as any to describe the music. It immediately grabs hold of you and sucks you in but the songs are not so easily digested on the first listen. They're subtle and, like elaborate labyrinths, they take time to reveal themselves. You need to explore the nooks and crannies before you can find your way out. But they're beautiful, enchanted labyrinths, green and flowery, and time moves in hazy slow motion inside of them. I will resist the urge to discuss individual songs (except to say that the one-two punch of On the Drift and Point of Existence is a knockout). Suffice it to say that Indra's Web is an extremely rewarding album and unique in the way it combines beat-driven electronic music with classical moods. It's seamlessly done, completely blurring the lines between genres. It's as good of an illustration as any of the inevitable futility of categorizing art. This is simply beautiful music that will endure.

Two and a Half Questions with Rena Jones

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Richard Anthony Jay - This Is What I Live For (Burning Petals)

This beautiful release may be Richard Anthony Jay's debut album but he is not some fresh, precocious new talent that's popped up out of nowhere. Richard has been working in the music industry for 20 of his 37 years. He's worked as a studio engineer in London, arranged pop songs for a variety of artists, and written music for advertising and TV. After a lifelong love-hate relationship with the business, he finally decided to strike out on his own. Richard tends to get lumped together with people like Max Richter and Ólafur Arnalds under the "neo-classical" label and he is obviously trying quite consciously to position himself in that camp. But the fact is that he stands quite apart from them. Although he cites Dead Can Dance, the Cocteau Twins and Michael Nyman as major influences, Richard's music is unabashedly classical. I mean straight-ahead, old-school classical. Like they used to write in Vienna 300 years ago. OK, maybe not quite, but almost. You could mistake some of the music here for chamber music pieces by one of the grand masters of the romantic era. Many of the recent crop of modern classical composers, including Richter and Arnalds, have successfully mixed genres, i.e. crossed classical with electronic or ambient music. And their music tends to be relatively minimal compared to the old classics. If that's what you're expecting when you put this album on, you might initially be put off. There's not a single glitch, synth pad, stab of white noise or field recording to be found. Just warm, clear and untreated strings and piano, and beautiful romantic music. About as far as Richard goes outside these bounds is to add a splash of reverb here and there to provide a bit of ambiance. But even this is done with great discretion. I saw a tweet from Ólafur Arnalds the other day saying that he was about to record some Rhodes parts for his new album. That's just something that seems so alien to the world of This Is What I Live For. In the Beginning sets the tone for the album with a full and emotive string section laying the foundation for a passionate solo violin passage, with the piano joining in to bolster the bottom end. Members of the Hallé, Britain's longest-established professional orchestra, are featured on almost every track, bringing the compositions to life. While the romantic style may initially put you on the defensive, if you put aside your preconceptions and give this music a second chance, it'll draw you into its warm embrace. You have to just decide to let go and enjoy the feast that's set before you. Pieces like 25th March 1996 and Fragile are simply gorgeous and you have to be a Grinch not to be touched by them. Frankly, it's a surprise that Richard Anthony Jay waited this long to let the rest of us in on his secret. But This Is What I Live For is notable for its maturity and grace so maybe he picked just the right time.

Two and a Half Questions with Richard Anthony Jay

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Vladislav Delay - Tummaa (Leaf)

Listening to Tummaa requires preparation. At least, it requires knowledge of the intent behind this album. Let me set the stage. The intent is 'darkness'. And this is its music. Tummaa reflects the mood recreated by Sasu Ripatti, composing under the moniker Vladislav Delay, while living on a remote island in the Baltic Sea during the time of year known as 'kaamos' (polar night). This is precisely the time from December to February, where there is only a few hours of light per day. This overall feeling of darkness made an enormous impression on Ripatti. The track titles alone construct the following message: Kuula (Kiitos) means Bullet (Thank You); Mustelmia means Bruises; Musta Planeetta - Black Planet; Toive - Wish; and finally Tunnelivisio (ok, can you guess that one?) - Tunnel Vision. Ripatti last made a sizable impression on me with his previous album, Whistleblower, released on his own label, Huume, in 2007. Now, back in Finland after seven years of living in Berlin, Ripatti returns with a few elements from his roots as a percussionist. The album may take more than a few listens for the followers of Vladislav Delay's to get into the groove. There is no dub on here. Instead, gentle piano riffs and Rhodes licks are interrupted with clicks, chirps and musique concrète snippets of sounds snatched from a variety of metallic and industrial sources. Even a deep rumbling sigh becomes a bass here. This is Ripatti's return to the source of acoustic and organic. “I wanted to take a new direction with Vladislav Delay, with more acoustic sound sources,” he explains. “I avoided as much electronics as possible, wanting to bring myself closer to my background as a drummer and percussionist. [...] I just love hitting things... making sounds physically without needing a power plug.” The album incorporates some abstract and jazzy improvisation featuring a live trio – Lucio Capece on saxophone and clarinet, Craig Armstrong on the keys, and Ripatti on percussion. After intensive sample manipulation, some modulations remind me of descending spaceships from the 70s. Some sound a lot like circuit bending emissions. Some sounds are like nothing I've ever heard before (from an organic source). All of this is blended with the swirls of abstract effects, sporadic glitches and scattered ambiance, floating in a three dimensional stereo field. Through this dark and somber concoction, full of dread and isolation, we descend into Tummaa. I can imagine the overall recording to be a flashback to a bad psychedelic trip. At times groovy, hypnotic, and rough around the edges. The entire experience will keep your ears prickled up, and your eyes wide open. A serious juxtaposition of sounds even for a seasoned listener. Be sure to check out Ripatti's percussion work as a member of Moritz Von Oswald Trio (with Max Loderbauer and of course, Morritz von Oswald) on their latest release, Vertical Ascent (Honest Jon's Records, 2009), as well as his other works under aliases like Conoco, Luomo, Sistol, and Uusitalo. Oh, and don't forget his collaboration with Antye Greie as AGF/Delay and their 2009 release, Symptoms out on BPitch Control.

Two and a Half Questions with Vladislav Delay

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Ben Frost - By The Throat (Bedroom Community)

I first listened to Ben Frost when he released his sophomore full length album, Theory Of Machines on Bedroom Community back in 2007. I described his music as ambient hardcore - psychologically raw, punishing, and overdriven guitars, with reverberated pads and rhythms that mutate into white noise and back, sending chills that originate deep from within your ear canal and slide down to your toenails. That album left a lasting impression on me. Enough to select it as one of the best albums of the year. I didn't think that Theory Of Machines could be outdone... That is... until I put on By The Throat. While listening to Theory Of Machines, I compared Frost's sound to that of an angry furry armadillo, creeping up the inside of my legs with a cold long needle, leaving me drenched in sweat. And with this latest installment, the chills rise up my spine and hold me, in perpetual, electric shock. The cover art alone puts into my mind the images of my final moments, lying naked on the snow, steam rising from the breath of a hungry wolf, his teeth sunk into my throat. And the track titles do not let up. Through The Glass Of The Roof, Through The Roof Of Your Mouth, Through The Mouth Of Your Eye. And the music? Dark grinding metallic strings scratched through distorted pads, deep breaths, growls, and choking melodies. The intensity of the bass and guitar riffs create instant goose bumps, tickling the inside of my ears, and clawing at my chest. White knuckled at the seat, I think I accidentally scratched a healing scab off of my back and now I'm bleeding through this white collar shirt, the tie restricting my cries. Let me out! I've heard some dark and terrifying ambiance in my lifetime, but Frost's onslaught is incredible. I stand applauding. And the production? We've got top notch mastering going on here, with perfectly sampled strings played with dry bows over thumping kick, and rising voices. With contributions from Jeremy Gara of The Arcade Fire, Icelandic quartet Amiina, Swedish grindcore band Crowpath, and of course, the classical touch of Nico Muhly the roster of artists is exciting alone. Oh, and did I mention that it was co-produced by Valgeir Sigurðsson? It was created under the cloak of nocturnal snow in the far northern reaches of financial-fantasy island, a concept borne of Frost and weapons manufacturer, war monger and evil genius Sruli Recht, captured by the all-seeing-eye of Bjarni Gríms and forged in the fires of hell by Rebeca Mendéz… Frost's music is all about contrast - merging beautiful classical minimalism with the dirty grind of metal and drone core. This combination is unsettling to the mind, refusing to split in half and choose between the genres. Born in Australia, Frost is now living in Reykjavik, Iceland - home of the above mentioned artists, and of course Sigurðsson’s acclaimed Bedroom Community label. His debut solo album, titled Steel Wound, was released on Room40 in 2003. There's also a two-track digital EP, released together with Lawrence English, titled Anyone Can Play... Anyone Can Sing (Dreamland, 2004). In 2007, Frost released Theory Of Machines on Bedroom Community, and spent the next two years cooped up to dream up this nightmare. Let me restate my earlier conviction: By The Throat is even better than Theory Of Machines - a feat I thought impossible to bear. This is the music of suspense. The terror of the unknown. The ethereal melody at the end of the tunnel that gets cemented off a few inches away from your desperate crawl. The piano keys expand and shrink with pressure, and the white and black chip off and vanish. The tension ends with the last track, and although you can exhale, you want to feel the angst again. You want to feel. You want to feel...

Two and a Half Questions With Ben Frost


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last.fm artist and label cloud mentioned in the above post:Joby Talbot, Deru, Talbot & Deru, DJ Hidden, Corey Fuller, Yann Novak, John Friesen, Tyler Wilcox, Monolake, T++, Robert Henke, Torsten Pröfrock, Clint Mansell, Kronos Quartet, Rena Jones, Richard Anthony Jay, Max Richter, Ólafur Arnalds, Vladislav Delay, Sasu Ripatti, Moritz von Oswald Trio, AGF/Delay, Ben Frost, Valgeir Sigurðsson, Nico Muhly, Lawrence English, Miasmah, Fang Bomb, Ant-Zen, Neo Ouija, Mush Records, merck, Ad Noiseam, Dragon's Eye, imbalance computer music, Leaf, Bpitch Control, Bedroom Community, ROOM40]]>