Andrew Heath - The Silent Cartographer

Disco Gecko: 2014

In one of the great cosmic coincidences within my music collection, CDs from Simon Heath is followed upon by a CD by Andrew Heath in my alphabetical organization of album titles. I don't think they’re related. Even more coincidentally though, they both produce ambient music. Okay, given the amount of ambient I have, it's not that great a coincidence.

Plus, they're at complete opposite ends of the ambient spectrum. S. Heath makes dark, brooding ambient as Atrium Carceri and Sabled Sun, while A. Heath makes calm, meditative ambient as, um, Andrew Heath. Also, the former has quite a few releases to his various aliases, whereas the latter has very little. Lord Discogs claims Andrew floated about in ambient obscurity with Felix Jay as Aqueous, releasing a few albums in the '90s before all musical records of him disappear until very recently. Somewhere along the way, Toby Marks got wind of his music, and signed him to his Disco Gecko label. And now you know why I'm reviewing The Silent Cartographer in the here and now. Like, if Banco de Gaia reps the chap, there's gotta' be some dope transmissions coming in from Mr. Heath (no, not signals).

After taking in this album though, I'm left puzzled by the Banco bump. The Silent Cartographer is ambient at its most traditionalist, with soothing synth tones, delicate piano touches, and occasional soft percussion. The opening titular cut, running at thirteen minutes in length, harkens back to some of Pete Namlook and Dr. Atmo’s work as Silence, lazily idling along with soft pads ebbing and flowing while various field recordings come and go. There are birds chirping, water running, boats creaking, and… repair work near the end? It’s all very relaxing though, perfect meditation music if that’s your sort of thing.

And so is the rest of the album, little variation in terms of mood and tone. The Twilight World uses pad synths with more prominence as it develops, Shoreline (Found Object) has a pleasant planetarium vibe going for it, Still Point works in a little vinyl crackle for extra warmth, and The Poet’s Dream feels ‘old-school’ with some vintage synth sounds used. For the most part though, these ten minutes pieces are led by piano, and here’s where I make the inevitable Harold Budd comparison. What, were you expecting a Hybrid Leisureland one instead? Can’t be helped, Mr. Budd casting a long shadow in the ‘piano ambient’ scene. The shorter Paper Boat sounds like something right out of his work with Brian Eno in The Pearl. Say, maybe that’s why I picked up The Silent Cartographer, figuring this album would represent the historical drama I keep believing The Pearl is based upon.

Mm, no, it’s definitely because of the Banco bump. You’d think a guy known for ethnic-fusion beats would curate artists of similar ilk to his label, but maybe Toby Marks has long had an unrealized soft spot for art house ambient too. Don’t expect Mr. Heath at a Megadog reunion though.

Sabled Sun - Signals I-III

Cryo Chamber: 2014

One does not simply let a sci-fi concept rest on its singular story, not when there is an entire world created. Simon Heath felt there was more worth exploring with his Sabled Sun concept, but wasn't keen on getting bogged down with divergent side-stories, sub-quests, or cul-de-sac tales. Enter the Signals series, digital-only compositions of hour-long ambient drone, loosely tied with the other Sabled Sun albums as companion pieces, but not integral to the main narrative – so like DLC, then?

Honestly, for as much as Mr. Heath's project intrigues me, I only had mild interest in these tracks. I barely indulge in lengthy drone of this sort as it is, preferring the genre in manageable bite-size chunks. Not to mention I remain a staunch believer in only committing hard cash to hard copies, even as the market continuously erodes the need for such mediums (however, it will never erode the ‘want’). On the other hand, unlike other fields of drone, the idea of dark space ambient has a certain allure, a suitable pairing capturing the harsh reality of desolate nothingness that is much of the cosmos. Maybe I'd check out Signals on a streaming service some day, even if I'd never get a chance to review it here.

Then I discovered a three-disc set of Signals had been released. Well, that settles that.

Though it really goes without saying, I’ll say it anyway: if you don’t care for dark droning ambient music, Signals won’t change your mind. These are about as dark and droning examples of the genre as you’ll likely find, though followers of Mr. Heath claim his work as Atrium Carceri is among the best of recent artists, so maybe this is decent starting point too.

Or maybe not. Signals I is almost an endurance test to get through, completely atonal and sonically crushing on the psyche. Running with the Sabled Sun setting, it feels like I’m trapped in orbit of a dying planet, waves of radiation bombarding me from above and below. There’s no emotional resonance here, just stark existence, unable to escape the calamity before me. Only as the droning ambience slowly recedes is a respite granted, though somehow I’m much lonelier because of it. Signals II feeds off of that feeling, also featuring a persistent humming drone throughout though much more subdued and spacious. The first twenty minutes of this track also has an intermittent high-pitched sound, like a transmission trying to pierce the desolate vast emptiness of the cosmos. The droning then changes pitch, and a similar sound briefly plays, as though finally responding to the desperate signals of before. Then nothing but the ebbing waves of drone after that. Dear lord, this is some bleak stuff.

If any of these CD-length tracks have hope it’s Signals III, where minimalist musical tones lend human emotion to the concept. Really, this is little more than a dirge, but man, after feeling such inhospitable isolation in the previous two Signals, any connectivity is welcome.

Tobias. - A Series Of Shocks

Ostgut Ton: 2014

I got this when it first came out, a rather rare occurrence for CDs outside my label comfort zone. The samples intrigued me though, and I figured I could review an actual recent release with a bit of hype for a change. Sure, my alphabetical stipulation placed it some distance from my then-current letter 'M', but surely I'd reach 'S' only a little later in the year. And here we are fifteen months since Tobias dropped his third LP. Um, a few unanticipated albums popped up in my collection during that time.

Still, A Series Of Shocks had enough buzz it should be a relevant album for discussion even at this late point. It’s Ostgut f’n Ton, after all, and everything they put it is Very Important Musics. Yeah, funny thing that. I don’t know how it happened, but the Berghain posse doesn’t command quite the same level of acclaim anymore. As always, I’ve a couple theories for this, one of which is interest in the über-elite club brand has waned, new audiences disinterested in their jib. On the other hand, there’s been a noticeable stylistic shift at the Ostgut camps of late, allowing things like trancey arpeggios and real melody into their repertoire after so many years of crushing warehouse techno. I, for one, welcome this development, but perhaps others aren’t so keen on it. Finally, look at what came out shortly after A Series Of Shocks: Tycho’s Awake, Todd Terje’s It’s Album Time, Efdemin’s Decay, and Vermont’s self-titled release. Poor ol’ Tobias couldn’t help but get lost in all the critical hype that went to those LPs in the following month. Let’s backtrack to that second point though. While I do admire Ostgut’s brand of audiophile techno, it isn’t something I typically seek out because it’s often just too darn tracky – tools for use on optimum club systems and not for lounging back with tea and crumpets.

Yet, with an ambient opener (Entire) that harkens back to the krautrock doodling days of trippy synth work, it’s clear Tobias has something more in mind that another round of dark bangers. Second cut Heartbeat is pretty much a neo-trance tune, a little more minimalist than Petar Dundov goes but just as groovy, hypnotic, and all that good stuff of the pseudo-genre. Elsewhere, you have dub techno loopers transmitting from deep space in Fast Null, The Scheme Of Things, and Ya Po, with a little droning dub fromTestcard for good measure. Adding some variety to the album is spritely Detroit techno track Cursor Item Only and tempered breaks action from If. Finally, your Berghain-ready weapons come care of burbling acid workout Instant and pure thumper He Said.

Of course, if you just don’t care for the cavernous sound design Mr. Freund employs, A Series Of Shocks may not be of much interest. Unlike so much of techno of this sort, however, there’s enough going on here that I’ve no problem throwing this on the home system. Fair warning to the neighbours.

Cosmic Replicant - Mission Infinity

Altar Records: 2014

No, really, Altar Records is more than psy-chill compilations and AstroPilot albums. I know it doesn’t seem so if you’ve only learned about them through this lonesome blog in the backwaters of interwebland, but that’s because… Okay, for a good portion of their first couple years, Altar Records pretty much was psy-chill compilations and AstroPilot albums. It didn’t take long in branching out though, growing their roster of acts and expanding their offerings of ambient, dub, and, um, New Agey meditation music probably (some covers are suspect). They haven't strayed far from the scene that nurtured them, but considering their ridiculous rate of output (nearly triple digits in six years!), Altar's had plenty of opportunities taking a few chances outside their comfort zone.

Cosmic Replicant's one such act, another in what seems like an endless supply of Russian and Ukrainian producers involved in the psy scene in some way. Do they have breeding vats pumping out these guys in Eastern Europe or something? Mr. Pavel Shirshin's released a few albums on Altar already with this guise, Mission Infinity his third in a two year time span (there’s also a fourth self-released LP as well – geez, what a work rate). I haven't checked out the other two yet, and didn't know anything about Cosmic Replicant before buying this in my Altar splurge, if only to go through the blind purchase thrill even with a label I'm quite comfy with. If Mission Infinity's anything to go by though, I gotta' dig into those early efforts.


These tunes are some of the best, recent examples of the classic, bleepy ambient techno I’m always banging on about (obligatory Higher Intelligence Agency namedrop). Obviously these lean a little in psy’s direction, but primarily on the rhythmic front. Tracks like Overnight Journey, Perception Of Doors and Overnight Journey have that downtempo dub thing going for them, whereas latter tracks like Quantum Leap, Yesterday Tomorrow, and the titular cut wade into prog-psy’s waters. Other tracks though, like opener Flexible Minds and Waves Bubbles are totally old-school Bobby Bird.

It’s Cosmic Replicant’s choice of sounds that draws the strongest comparison though, synths, pads, acid, and samples harkening back to the days where ambient techno was more fascinated with space and the future. It’s not that this is a total retro homage either, the production quality as current as anything Altar’s put out – C.R.’s merely used plenty of vintage sounds as compliments to contemporary styles. And unlike the pure experimental tone of that Antendex album Photons (my last direct HIA comparison), Mr. Shirshin is intent upon writing proper pieces of music here, the sort that can take you on nice little journeys within your head. Mission Infinity isn’t quite so brilliant at as the masters of the craft, but it’s been a while since these particular pleasure centers have been tickled so wonderfully (obligatory Distant System namedrop). Do check Mission Infinity out if you’ve a little early ‘90s space-bleep ambient techno love kicking about.

Moss Garden - In The Silence Of The Subconscious

Carpe Sonum Records: 2014

If you’re getting a sense of Namlook déjà-vu with that cover art, it’s deliberate on the Carpe Sonum’s part. Following Mr. Peter Kuhlmann’s death, many of his labels ended too, including several offshoots and cross-sea distributor partnerships. One of these, EAR/Rational, set up a short-term label called Carpe Sonum Records with the sole intent of releasing that tribute mega-boxset all you ambient lovers undoubtedly heard about and snagged up. Hell, are any of those left now? *checks* Holy cow, only three remaining? Bought! *whew* Almost missed out on that. Where was I now? Right, Carpe Sonum.

What began as a one-time effort has now evolved into a full-fledged label with the intent of carrying on Namlook’s legacy in the realm of ambient and chill. This includes the classic Fax +49-69/450464 art style, and even taking on a few latter-era FAX artists to their roster (Thomas P. Heckmann, Lorenzo Montanà, Mick Chillage). Carpe Sonum’s rounded up newer acts too, including this here Moss Garden.

Unfortunately, I’ve less background info available for this duo (and by “I”, I mean Lord Discogs and Prince Last.fm). One half is Lee Norris, who's released a pile of music across multiple labels and genres (mostly IDM stuff) as Metamatics over the last couple decades. The other half is Dimitar Dodovski, who's released far less material than Norris, and has stuck to the downtempo side of dub and techno. With plenty of crafty rhythmic skill behind them, naturally the two would find kinship in creating pure ambient music.

While I’ve gone on and on about the Namlook within this review, Moss Garden’s sophomore effort, In The Silence Of The Subconscious, has more in common with Biosphere’s brand of synthy drone. And no, it’s not just because the cover features a lone individual trekking across a snowy field, though that certainly wouldn’t be out of place on a Geir Jenssen release. Nay, the very nature of Moss Garden’s music has a chilly tone to it, delicate pads and timbre feeling like wide-open winter canvases. Even some track titles - Strange Terrain, Shadowland - conjure the desolate reaches of frozen tundra, though I could also be straining to find thematic links. Hey, maybe that’s why they’ve included a track called Daily Catachresis! Meanwhile, soft field recordings of winds, crackling footsteps, and static embers that dub techno types adore, add some warmth to an atmosphere that’s rather brisk.

So this is all very lovely, inviting ambient that never noodles too long or pointless dawdles about. Um... if I’m honest, I kinda’ wish these tracks did stretch themselves out a little longer. There’s only seven on Silent Subconscious, none of which break the ten minute mark – heck, most only average about five minutes, practically ‘skit’ length where ambient of this sort is concerned. Moss Garden’s style, though hardly unique, is still skilful enough they should indulge their synths a little longer. Ah well, maybe on the next LP they’ll feel emboldened enough to go for those truly epic Namlook lengths.

Seraphim Rytm - Aeterna

Silent Season: 2014/2015

How have I neglected Silent Season for so long? Like, I knew it existed, had seen its name crop up, mostly in relation to a couple ASC albums. Perhaps the ‘dub techno’ tag had me initially wary, an all too trendy buzzword the past decade, but I should have had more faith in a local label being class. Also, as they’ve primarily catered to the digital market, I just assumed there’d be no hard copies available with any of their releases. Turns out I was wrong, they do release CDs, though in a limited capacity. No worries though, even short runs last a few years in a label’s store house. Just pop over to the website and- oh, right. Dub techno. This is the domain of the Basic Channel collector. You either get in right away, or not at all. *sigh* All that back catalog, as out of reach as a first run Fax +49-69/450464 vinyl. Moral: don’t sleep on your locals.

That all sorted, let’s talk about Silent Season’s latest offering, Aeterna from Seraphim Rytm. Erm, can’t help you out much on the producer info part, as Mr. S.R. is rather reclusive from the interwebs. All I can glean from the sporadic PR blurbs is he’s from Belgium, and a far-flung region at that. Heh, figures he’d end up releasing an album on an equally far-flung label like Silent Season. Oh, and he also produces as Damaskin, which Lord Discogs confirms. Only the most quality sleuthing here at Electronic Music Critic!

Though I mentioned Silent Season’s breaded butter sits in the dub techno fridge, the music on Aeterna barely categorizes as that. There’s certainly dub production going on, but Seraphim Rytm layers his loops to such a degree that he turns his tracks into lengthy, hypnotic drones. His rhythms are mostly soft ambient techno, the sort that’ll have forlorn old-school Aphex Twin fans reminiscing of simpler times. Synth pads pulse and throb like meditative breathing, and melodic touches ebb in and out during each track’s duration (running an average of ten minutes apiece). Aside from the titular opener’s beatless, running-water theme, there isn’t much stylistic variation between any of these cuts, but they’re well crafted pieces of music, never so monotonous that you’ll lose interest in their meandering journey (yeah, the ‘water’ motif was deliberate on Mr. Damaskin’s part). Should you spring for the digital version of Aeterna (pretty much necessary at this point), you get two additional tracks for your dollar, Kozara and Sana. Compared to the relative calm tones of the album proper, these come off more experimental in their chosen sounds, though still follow the same droning looptastic nature as the other tracks. Definite B-side material, then.

And Hell, I’ll say it: Aeterna is a trance record. Not euro-trance, or techno-trance, or whatever qualifier you need describing that large genre, but in its purest sense, where the listener is drawn within through subtlety and repetition. Okay, maybe neo-trance too, if we’re counting that as a thing.

Various - In Trance We Trust 020: Mike Saint-Jules & Sneijder (CDs 2 & 3)

In Trance We Trust: 2014

So Menno de Jong's mix for this 3CD mega-event Twentieth edition volume of In Trance We Trust turned out better than I expected. I suspect two reasons for that. First, Menno's unabashed enjoyment of the vintage euro-trance stylee came through in his mix, infecting me with his enthusiasm in the process – too often sets like these come off perfunctory hits rinse-outs, but not so much this one. Second, as this is an anniversary release, of course one of these discs would go the throwback route, saving the other two for contemporary takes on trance. I may as well enjoy the CD that shares some attributes of my early rave days, even if I did my darndest to avoid it back then. After all, whatever Mike Saint-Jules and Sneijder have in store will obviously be inferior.

Oh, hi Sagat, what brings you to this review? Wait, what are you-

Sagat: Tiger Genocide!


*several hours later* Oh man, did I ever get some sense knocked into me. A real slap-shocker, just like listening to these remaining two CDs.

I’ll be damned, but both discs mostly pick up right where Mr. De Jong left off. Mind, Saint-Jules’ set does plod for much of its first half, the sort of thunking anthem prog that made some previous In Trance We Trust volumes such a chore to get through. Things get especially dire midway with a pair of tunes that sound like they’re hitching onto recent Dutch house nonsense (of course Richard Durand would be one of the producers). It was all that I feared from these sets.

Then, in an instant, MSJ’s done with it, starts unloading his own brand of hard trance bangers, and holy geez, these are just as much fun as Menno’s offerings. Why are these fun? Logic says I’m supposed to hate these, but damn if I don’t get the feels for these anthems. They’re just so unapologetic, earnest, and don’t give a fuck what those other scenesters think. It doesn’t hurt ol’ Mike keeps his mixes quick, never letting tunes dawdle for longer than they need to – even the breakdowns have something keeping the momentum, serving as lulls rather than full-stop dithering tedium. It’s euro-trance that utilizes its clichés with efficiency, and is all the better for it.

Meanwhile, this Sneijder fella’, hot damn, he’s just relentless with the energy. Even with breakdowns and supersaws and the whole lot, I’m completely on board his set from start to finish. It’s the beats, mang, relentlessly vicious rhythms that make all the requisite euro-trance downtime bearable (I imagine even with a gun to their head, euro-trance DJs would sooner take the bullet in their brain than play a track without a breakdown).

I still wouldn’t recommend In Trance We Trust 020 to anyone uninterested in this scene, but then it’s not trying to win such folk over anyway. These guys are done with appealing to tourists, perfectly content catering to those who never stopped trusting in trance. D’aaww, so sappy. PLUR hugs!

Various - In Trance We Trust 020: Menno de Jong (CD1)

In Trance We Trust: 2014

The folks at Black Hole Recordings had to realize the In Trance We Trust brand was in desperate need of a shake-up. The genre its namesake was based upon had dwindled in clubber interest and market share. Much of the old guard moved onto more lucrative ventures. New singles continuously failed at enticing a new generation into its scene. All that remained were staunch die-hards, those who truly did trust in trance regardless of popularity. It isn’t as massive a group as those found at massive festivals, but at least they were a dedicated bunch, who'd stick with you through the good times and the bad, provided you didn't deviate from what they felt was a purity of their preferred music. What was the label to do then? Try riding the trendy bandwagons in the hopes of remaining relevant, or start catering specifically to a guaranteed, though smaller, following? Speaking of Menno de Jong's career...!

Okay, ol’ Menno hasn’t taken quite the same path, mostly resisting throwing his lot in with noisy electro anthems and dubstep permutations like many of his brethren did. For a chap who seemed primed for a larger career though, he floundered a bit at the turn of this decade, soon after closing up his Intuition Recordings print. Aw, I actually kinda’ liked that label, his Intuition Sessions mix one of the few CDs that got me tentatively giving trance another chance. While it’s no surprise he’d end up at one of the mega-labels, it’s interesting that he’s releasing singles and now offering a set on In Trance We Trust. Their DJ mixes have mostly gone to up-and-comers and relative unknowns for over a decade now, and surely Mr. de Jong has enough scene clout that he need not slum it with sub-labels.

Then again, hitting the big Two-Oh is something to celebrate for any series, so why not have a prominent name at the helm. And as ol’ Menno’s been one of the genre’s resolute ‘old-school’ supporters, it makes good sense having him provide a throwback euro-trance set. There are breakdowns, girly vocals, and oh God is there supersaws. None of these have any chance of being a hit in this day of EDM, and despite production chops at the bleeding edge of modernity, are all recycling the same standard formulae from euro-trance of old.

Yet, I’m strangely fine with this, even enjoying myself most of the time. The energy is relentless, especially in the latter half when tunes absolutely tear (yeah, that’s John Askew for ya’). Menno even provides a rare vocal tune I unashamedly like (Creatures Of The Night), proving the ol’ Law Of Averages I guess. No matter how overwrought, cliché, or sappy this set goes, MdJ kept pulling me back in, anxious to hear what sort of anthem he’d drop next. It’s like he’s paying homage to that scene’s roots (the fun and the wack), and screw whatever recent developments have gone down. Those are sentiments I can respect.

Asura - Radio Universe

Ultimae Records: 2014

Though Radio Universe came out in the back-half of 2014, its Ultimae catalogue number suggests it should have come out at least a year earlier. Did Asura initially not feel satisfied with his latest LP and withheld it? Some legal hiccup with sample clearances? Waiting for the label to work out its dub techno 'grey' phase? Hoping to catch some backwash interest in space music once Interstellar hit theatres? The people wish to know these things! And by people, I probably mean only me, but I are people too, dang'it.

Ah, you noticed ‘space music’ in that sequence of supposition. ‘Tis true, Mr. Farewell has dabbled in the classic side of synth composition before, some of his best work the out-worldly pieces in his albums. It was only a matter of time before the sounds explored on tunes like Galaxies and Halley Road would feature in a full-length concept. For that matter, I’m surprised Asura’s taken this long for an attempt, but then he does have a rather sluggish output compared to his roster mates at Ultimae (and Altar!). Half-a-dozen albums in twice as many years is downright glacial against Aes Dana, Solar Fields, AstroPilot, namedrop, namedrop, and namedrop.

As for the type of space music we’re dealing with on Radio Universe, it’s primarily of the droning ambient sort. A beat doesn’t emerge until well after the album’s midway point, though second track Interlude Sky does have building synth arpeggios as a peak feature – you have no idea how much I was hoping for a fierce prog-psy beat towards the end of that one. Meanwhile, ten-minute long opener Overture has a little more cinematic, orchestral flourish, twelve-minute long Oblivion Gravity goes darker, eight-minute long Ascension In Blue feels rapturous and bliss, and one-minute long Gaea (Transit) sounds like those converted electromagnetic radio emissions of planets NASA likes giving out (and space drone composers love sampling). For that matter, I’ve noticed a bit of omnipresent hiss throughout all these tracks. Charles! Charlie! Charl-mang! Have you added the CMB to your music too? Nice.

As for the back half where the tempo picks up a bit, much of it comes off like standard Asura chill-out with HD production chops. Farscape 7 has a world-beat trip-hop thing going for it, Lonely Star’s got charming, melancholic piano but is undone by way-overdone side-chained bottom ends, Illuminations grooves along nicely enough, and Everlasting heads for the stars in blissed-out rapture. Frankly, the earlier drone compositions were more interesting, coming off bolder in their arrangements and sound design, though I’m not sure folks would be keen on a pure ambient drone LP on Ultimae.

Radio Universe is an intriguing listen, especially with good playback headphones or stereo. As a concept album, however, it falls a bit short, losing its way in the back half compared to the absorbing first. Probably will be a disappointment if you go in expecting another Life² (sorry, no psy here), but all said, it’s another solid offering of music from Asura.

AstroPilot - Iriy

Altar Records: 2014

Mythologies and ancient mysticisms of the world, you ask? Oh, are they ever plentiful and famous: Babylonian, Egyptian, Greek, Hindu, Abrahamic, and plenty more have served as inspiration for the arts and culture, especially when re-contextualized with contemporary fashions. The Slavic States, however, don’t get as much love with modern audiences, content in letting the ‘gypsy lifestyle’ be their one defining historical trait. Not even Deep Forest, at the height of their commercial clout, swayed the public to the sounds of Eastern European traditionalism. Fortunately for AstroPilot, he caters to an audience a little more open to such ideas, despite many remaining stuck in their love of many things derived from the shores of Goa; he’s already explored that though (you’re kinda’ obligated to if you dabble in psy chill/dub/prog/trance/zydeco). Still, Mr. Redko’s muse remains ever restless, and for his eighth LP in as many years (!), he released Iriy, an album drawing plenty of influence from Eastern European folklore.

What is an Iriy, you ask? To save you the Wiki trip, it’s essentially a sort of ‘paradise’, like Eden or Shambhala, though based on Russian mythology. Tracks within this album include titles like Svarog’s Morning (Slavic god of celestial fire), Makosh (Slavic goddess of life cycles and fertility), Gamayun (a prophetic bird connected to Iriy), and Back To Midgard-Earth. Okay, that last one’s technically Norse, but seeing as how the Slavic States are situated in the middle of civilized Euro-Asia, one could call the region ‘Middle Earth’ too, if you’re willing to stretch your folklore to the extreme. Wait, I’m supposed to review music here, not conduct mythology lectures.

Honestly, all this comes off as window-dressing where AstroPilot goes in this album. Iriy is essentially another collection of ultra-lush prog-psy and wide-screen chill-out from the Siberian native, no real musical theme tying it together other than that. If there are sonic nods to Slavic traditionalism within, it’s very minimal (or I’m just too Canadianized to recognize it). The places and names in these titles could just as easily be a wholly created fantastical realm, but I cannot deny it was a cool trick on AstroPilot’s part in opening my eyes to an overlooked segment of humanity’s bountiful culture. Also, it doesn’t hurt having such a unique context for these tunes - The Last Night Of Svarog’s groovy trance pulse and layered synth drones carries more emotional heft if you picture the dying embers of a celestial fire deity along with it.

Iriy’s a no-brainer of a pick-up if you’ve got an itch for more prog-psy in your diet. AstroPilot’s been in a remarkable zone of quality for years now, this album further cementing an already praise-worthy career. Damn, am I in hyperbolic mode now because of this? Fine, here’s a criticism: most of these tunes stick to a very similar, lengthy prog-psy structure (ambient intro, gradual build, etc.), lending to a rather repetitive trip throughout. With scenery this gorgeous though, who gives a hoot of a svirel?

Androcell - Imbue

Altar Records: 2014

I’ve said it before, but it’s been a long time since I last said it. When was it, the last Androcell review? Whatever, here’s what I’m repeating: I’ve been spoiled by great music. No, I don’t go into every LP demanding nothing less than a 12.2/10, but it has created certain expectations upon certain artists. They are by no means obligated to meet the whims of a single West Coast Canadian – musicians do as they mean to do – but when I hear the highs some have achieved, it's all too common coming away from new material underwhelmed if they don't reach those peaks again. All this, of course, is just wishy-washy reasoning for why Tyler Smith's latest LP doesn't do it for me the way I hoped it could, even though there's nothing fundamentally poor about it.

No, this isn't yet another case of me bemoaning the lack of a follow-up in his Distant System moniker. He'll get around to that whenever he wants to, and if Mr. Smith is feeling the psy-dub flow more than the space-dub, that's his call. Though, I have to wonder, is he hesitating on Distant System due to conceived pressure? Lord knows I’ve hyped Spiral Empire to the high moons of Jupiter, but I’m just a single West Coast Canadian. Then again, I know a number of folks who hope for a follow-up. It may not receive the ridiculous anticipation of, say, The Bug’s Angels & Demons, but for those in the know, we’re jonsing something fierce here, mang.

Sorry, there I go again. Okay, focus. Androcell, new album, Imbue. This comes care of Altar Records, the psy-chill label out of Quebec that’s gaining itself a reputation as an outlet on par with Ultimae Records. I don’t know if they’re quite there yet, but having AstroPilot as one of your featured artists sure doesn’t hurt. Asura’s popped up on there too, and now Altar’s added Androcell to their ranks – gotta’ have that Shpongle inspired psy-dub stylee in there somewhere, right?

And Imbue is a perfectly fine psy-dub album. The rhythms are wordly and funky, the psychedelia is tasteful and never over-indulgent and everything flows as though you’re hearing these tunes jammed live. Though ol’ Tyler doesn’t offer any sounds psy-dub veterans won’t have heard before, his sense of song craft and musical progression remains top-notch, always throwing in little twists and turns holding your attention throughout the album’s run-through. A solid effort, all said.

Wait, if that’s true, then why the apologetic opening paragraph? Unfortunately, I’m not getting the same sense of imagery or journey as his prior work. The Distant System stuff is obvious, and even the last Androcell album had me feeling like I was out traversing ancient, mystical roads and that. Nothing comparable goes down with Imbue, unless one considers a jolly ol’ flailing time at an outdoor psychedelic party good enough. Fair enough if so, and I hope I shake this spoiled attitude towards Mr. Smith’s music too.

Wu-Tang Clan - A Better Tomorrow

Asylum Records: 2014

I can't get Miracles out of my head! Is it because that chorus is totally brilliant, or totally daft, or brilliantly daft? It's certainly unlike anything the Wu-Tang Clan has ever done before, sounding both suitable for a corny old-timey musical and a corny EDM festival anthem. The Shaolin crew's appeal is for the rugged and raw feel of their beats and rhymes, yet here's an entry into their discography that's about as squeaky-clean as a Rodgers & Hammerstein production. Are the Wu members offering verses on Miracles even into it? They don't sound embarrassed or out of place – even Raekwon seems earnest about the song's intention (namely, can the world's troubles only be solved with miraculous intervention?). It boggles my brain, confounds my cranium, puzzles my pons.

That’s only one track though. The rest of A Better Tomorrow is, dare I say, not as bad as everyone’s making it out to be? I’m already split on Miracles, which has been every other critic’s big ‘NOPE!’ moment on this album. A few other weak moments aside though, I’m digging much of the Wu’s latest LP, especially such a hot opener like Ruckus In B Minor (ODB lives!) I’m fine there’ll never be another Enter The 36 Chambers or Forever - just provide solid, skill music, and I’m satisfied. And more often than not, I’m gettin’ my vibe on to A Better Tomorrow.

Ol’ RZA, he’s finally figured out how to get some mileage out of all those stockpiled instruments in his studio. After all, isn’t it better to create your own funk and soul loops with actual musicians rather than raid the past? If you have the capability, I say go for it, and RZA’s learned quite a bit from the true masters of the craft (no, not True Master). What I find fascinating about these beats is they’re still arranged in that distinct twitchy style RZA’s known for, but with real instruments complementing hip-hop beats, chop-sockey dialog, and scratched-up samples. Not every track hits the mark (ugh, Hold The Heater’s synths struggle to gain any traction), but for all the complaints I’ve read about RZA losing his way, I just don’t hear it. I want to hear this evolution in Wu-Tang Clan! Wait, does that make me a Wu-Tang apologist, willing to overlook every weird third-tier tangent and mediocre sub-sub affiliate project, all because it comes with that classic emblem? Oh God. U-God, even!

The real trouble with A Better Tomorrow is how inconsequential all these MCs come off. Though there aren’t any wack rhymes, no one really stands out either. It’s like RZA considered each Clan member just another instrument in his arsenal, which makes a bit of sense at this late stage. His fam’s found their own way after twenty years, and aren’t so reliant on him for exposure. It does make this album more of a RZA LP than a full-on Wu joint, which is your leave it or lump it decider in a nutshell.

Ghostface Killah - 36 Seasons

Salvation Music: 2014

Finally, after sifting through a bunch of Ghostface Killah's back catalog, I can discuss a new album from the prolific Wu-Tang Clan member. Law of averages dictated my alphabetical stipulation and Tony Starks' ceaseless work rate would coincide with each other eventually. What even is his average, on LP per year now? He could have easily faded with his '00s fame, ready to slow down and rest easy on the rap game - no one would think lesser of him. Yet here he is again, slamming back a Shaolin Powerthirst, spitting out four-hundred fresh verses, each filled with the same fire that's driven him since the earliest days of Wu-Tang's formation. What is he, the Neil Young of hip-hop?

For that matter, what else can he rap about? He’s done the street tales, the sexy come-ons, the conscious rhymes, the battles brags, and the made-man narratives... what’s left? Horrorcore? Nerdcore? Yes! I mean, Mr. Coles already takes on aspects of slasher flicks (the ‘ghostface’ persona) and geek culture (Ironman, obviously), so why not embrace them to their logical extreme? Spin some narratives that aren’t as tied to gritty block dramas and rap jargon either, instead take on fantastical elements as witnessed in the pulpiest of ‘70s exploitation films. It’s never held The RZA back.

I don’t think Ghostface is quite willing to go so far off the macabre end as RZA did with Gravediggaz, but on 36 Seasons, he shows no problem having his own Bobby Digital moment. This is a pure blaxploitation action-thriller, a familiar story told for anyone well versed in the cinematic sub-genre. Come, sit by the fire as I weave the tale. A man comes back from time away, usually while in prison, but sometimes to serve duty overseas, or other ‘mysterious’ reasons. His neighbourhood’s changed though: streets have grown rougher, corrupt cops patrol the roads, and worse of all, his woman’s found another man in her life. Not that he blames her, as nine years is a long time to be gone, but there’s something fishy about this cat. More urgent though, is cleaning up the illicit drug game, and as the cops are on the take, the man takes it upon himself to do the deed. A chemical explosion in one such raid leaves him physically incapacitated though, forcing him to see a ‘mad scientist’ for treatment, thus forced to wear a mask in the form of a ghost. Wait, isn’t this Dr. Doom’s origin story?

Actually, the whole ‘becoming Ghostface’ part only takes up a brief portion of the album’s narrative. Also, I’m kinda’ disappointed the ‘Final Showdown’ of the story only lasts one two-minute track’s worth - it felt like 36 Seasons was building up to something bigger. There’s little else worth complaining about though. Ghostface remains as taught a storyteller as ever, the beats ooze ‘70s funk and soul, and AZ makes for an excellent rap foil throughout. 36 Seasons isn’t an essential album, but it’s enjoyable and skill for a vigilante narrative.

Todd Terje - It's Album Time

Olsen: 2014

I feel like a right idiot for not diving into Todd Terje sooner. Certainly I'd seen his name around, often paired up with Prins Thomas and Lindstrøm, fanciful phrases like 'nu-disco' and 'cosmic house' floating between them to describe their sound. What I failed to realize is these were just trendy buzzwords to describe something that was already rather old but often forgotten: space synth. However, unlike contemporary purists who simply ape the works of old, these guys approached the genre with a jazzy house vibe, not to mention a few influences from the French disco-pop scene of the same yesteryears. Or maybe it's a Scandinavian thing, finding those impeccable ear-wormy bits of musical gold in some of the hokiest music around.

Mr. Terje though, there's another reason I hesitated in seeing what his discography held beyond a few arpy dance tunes: the long delay in tackling the LP format. His first single, Eurodans, came out a full decade past, and he’s stayed within the EP realm for much of that time since (a DJ mix titled Remaster Of The Universe aside - show your ‘80s love a little more, Todd?). There was some good stuff in those records, but as I’ve stuck with CD as my preferred format, it’s primarily limited me to album buying. O’ forlorn t’was my dilemma, denying myself the sexy fun times of Mr. Terje’s output. But lo’, a Christmas miracle t’was afoot, for the Todd-One heard my wails of plight, and saw fit to satisfy my selfish needs for music consumed in hour length chunkettes. Thus, with a bit of a euro-sigh, he committed to the necessity of all aspiring musicians, album time.

Don’t be taken in by that facade. Even if It’s Album Time presents itself with the flair of a lackadaisical lounge lizard forced to diddle away at a piano for sixty year old European tourists, the music within is anything but. Well, okay, it sort of sounds like that too, but good! Obviously I find favour in the out-and-out space synthy cuts like Delorean Dynamite, Swing Star, Oh Joy, and Inspector Norse (dressed in house’s groove). Elsewhere though, Mr. Terje unleashes the cinematic sap in Leisure Suit Preben, down-low disco funk with Preben Goes To Acapulco, sunny italo-house in Strandbar, and general chintzy Latin oddities with Alfonso Muskedunder and Svensk Sås - Señor Coconut, much? Ol’ Todd also offers a lounge ballad with Bryan Ferry in Johnny And Mary, originally a peppy synth-pop tune by Robert Palmer. Hey, if you play the part on the cover, you gotta’ deliver within.

It’s Album Time finally commits the best facet of any album: flowing like an actual album! Even with a few older tunes sprinkled in, this LP is far from an odd-n-sods collection of singles. Todd Terje promised us a proper album experience in the title, and by gum he’s given it to us. Worth your ears’ attention if you’ve the slightest glow for synthy space disco in a modern setting.

Various - Passages: Framed By Nova

Ultimae Records: 2014

Mr. Nova – or Massimo Terranova, if you want to get fancy with him – first became involved with Ultimae about a decade ago, though not in any capacity most would notice. He often serves as the label’s PR man, and does the DJ circuit when called upon, deferring the limelight to producers and other folks about the Lyon offices. Occasionally he’s contributed a compilation or two to the Ultimae library, though unlike Mahiane, hasn’t settled upon any specific theme. The first was titled Albedo, the second Imaginary Friends, and this most recent one is called Passages. So… the reflective lights of ghosts will take us places? Yeah, no. These are all self-contained CDs, singular compilations that I guess Ultimae is obligated to put out at least once per year now that Fahrenheit Project is tripping the light retired.

Or maybe Nova just wanted his say on Ultimae’s ‘gray period’ before they moved on to another phase. At least, I’m assuming the label’s moving on from it soon, as their last couple releases have been quite colourful in comparison to most of 2013’s output. As Passages came out earlier in 2014, it would make a fitting conclusion to this chapter in Ultimae’s history – like, taking a passage from where they were to where they’re going, yes? I’ll stop worming significance into the title now.

So this CD has the usual assortment of familiar and outside talent making up the track list. James Murray pops back up, as does Lars Leonhard, Cygna and Cell, giving a rub on his Connect.Ohm project. Aes Dana naturally contributes, and it couldn’t be a ‘gray period’ Ultimae compilation without music from Miktek and Fingers In The Noise. Murya, who appeared on the prior Nova collection Imaginary Friends, gets a new track in, while Max Million pops up too. I haven’t seen the names Brando Lupi, Martin Nonstatic, or Zinovia before, but Lord Discogs tells me they’re raising talents modern chill's growing list of producers.

Right, the actual music. There’s little surprising on Passages, if I’m honest, but all of it remains totally class as Ultimae continuously is wont to do. The general style Nova’s curated here is minimalist, dubby ambient techno, with touches of modern classical piano and orchestral flourishes for good measure. It isn’t as pretentious as I’ve probably made it sound. I guess it wouldn’t help matters if I added ‘glitch’ to that description too? I mean, what else can I call Cygna’s Whitin? That rhythm is so restrained and clicky, it’d make Mille Plateaux say, “yo, beef that bass”; lovely cinematic swells, though.

The highest praise I can give Passages is, should you somehow have ignored Ultimae for this long (a near-impossibility if you’ve been reading this blog for any length of time, but bear with me), this is a good jumping-on point. It doesn’t tell their whole story, but effectively portrays the sound they’ve cultivated their last couple years. I’d expect nothing less from their resident PR man.

Emmerichk - Late Nineties

Offshoot: 2014

Sweet, a techno CD with a title recalling an era of techno that's no longer in vogue. Forget the logical assumption that Late Nineties won't be all on that tough, 4am bangin' shit - I've already convinced myself that's what will be on this album! Plus, it’s advertised by the intriguing ambient and experimental Psychonavigation Records label that released Oliver Lieb's Inside Voices earlier this year of Twenty-Fourteen. I’m not sure what that means in the long run, but it was enough for me to dive into this album from one Emmerichk Esquivel sight-unheard. Heck, I even sprung for the limited edition CD copy, which came in a thin plastic case that doesn’t open like traditional jewel or digipaks; instead, it has a spring load with a release in the top corner. Clever and crafty – I’m in love.

Of course, had I done some prior research into who Emmerichk even is, I probably wouldn’t have been so quick in getting this. His profile at Lord Discogs has musical jargon like “sound carpets” and “rhythmical micro-structures”, the sort stuff you’d associate with Mille Plateaux. Dear me, that’s nothing like what I imagined. Not even room for a fierce, percolating 909 rhythm? What have I gotten myself into?

A pretty cool album, is what. Oh, Late Nineties is definitely all about the dubby, minimalist sound associated with experimental branches of techno, but so was Plastikman’s Consumed, an album released – say it all together – the late nineties! Emmerichk states his influence in crafting this album was a paying tribute to the techno producers of that era while maintaining his own style in the process, so you have tracks with titles like The Hood andThe Jaguar, names anyone worth their techno salt should recognize. Alongside those, there’s Acid Twilight, Analog Fever, and assorted other stylistic points of reference. Alright, on board again.

Another thing that ties Late Nineties to that period of techno is the above-average BPM. Right from the opening cut (Deep Thoughts), things chug along at a brisk pace, far more so than most tracks in the dubby end of genre do these days. What’s remarkable about Emmerichk’s production is, without a good set of speakers or headphones, it won’t seem like it. You’ll hear the kick, but in most cases its very soft, barely a pulse as heard on weak sound systems – only Transforming The Past has anything resembling the chunky, distorted kicks of yore. Instead, Emmerichk somehow hides the propulsive attributes of his tracks within the sonic depth of dub effects, which is great for getting lost in the techno murk of his music but utterly reliant on quality playback gear. Don’t try playing this on laptop or smarphone speakers, is what I’m saying.

Despite not having what I (foolishly) expected, Emmerichk still turned out a mint album of high-tempo dub techno. Yes, I know those terms seem like an oxymoron, which is all the more reason for you to check out Late Nineties to hear how it’s done.

The Future Sound Of London - Environment Five

fsoldigital.com: 2014

Considering the seemingly endless volumes of From The Archives and, to a lesser extent, Environments, The Future Sound Of London must have had shed-fulls of unused material stored. At least with Environments, they gradually sprinkled in some new stuff too, helping create distinctive album narratives between each edition. And now finally - finally - Dougans and Cobain either found enough inspiration to craft an entirely new album of fresh music under the FSOL banner, or they've used up their entire backlog.

I’ll get the bad news regarding that out of the way: as we’re dealing entirely with post-millennial FSOL here, you bet your bottom dollar Environment Five goes deep into the psychedelic bubble, an attribute that has made their Amorphous Androgynous material a bit of a chore for all but the most dedicated listeners. No, wait a second, that’s not bad news in the slightest! Why shoulda musically dynamic duo remain stuck making tunes they hashed out two decades hence? They can’t very well go around claiming themselves the Future Sound Of London if they don’t keep pushing themselves in finding what future sounds they can craft (for London). Going avant-garde psychedelic-classicalism is good news!

The better-good news is, as Environment Five is all new material, it means Dougans and Cobain had a specific theme in mind while composing this album. Not that the previous Environments lacked themes, but those felt cobbled together - tracks served in creating general moods or milieus, but having little to do with each other. Five, on the other hand, flows like an album proper, with lengthy set pieces, short quiet interludes, and musical ideas and leitmotifs sprinkled throughout. Seriously, they sure love using that... saxophone? I think it’s a saxophone, but knowing these guys, it could be a Tibetan reed-woodwind that only sounds like a saxophone, or even an overlay of the two.

Anyhow, the PR blurbs described Environment Five as an exploration of death. No, not in a morbid, goth manner – there’s more sense of spiritual awakening and contemplation with the music here, as though death is a release from our limited, mortal shells, with realms both grand and humbling awaiting us to explore. Definitely an ambitious venture, and the music does offer tantalizing glimpses. There’s sombre pianos (Source Of Uncertainty, Viewed From Below The Surface), minimalist electro-dub (Machines Of The Subconscious), ethno-fusion baroque (Dying While Being Held), creepy cinematic ambient (Beings Of Light, The Dust Settles), future-shock freak-outs (Somatosensory), and jubilant psychedelic world-beat (In Solitude We Are Least Alone).

Honestly though, this concept of ‘death experiences’ isn’t iron-clad, at least compared to some of FSOL’s earlier concept albums (Lifeforms, Dead Cities). It’s nice they gave us something to latch onto if we’re so inclined, but as a collection of new The Future Sound Of London musics, it’s an enjoyable play-through regardless. Well, so long as you’re not still clinging to Papua New Guinea retreads. Let some of those prog rocks jams worm their way into your eternal being, guy.

The Bug - Angels & Devils

Ninja Tune: 2014

It wasn't fair. Kevin Martin's aim with London Zoo was showcasing the hot sounds of the UK capital's grime and dancehall scene, but the album ended up being critically hailed an instant classic that would be impossible to follow upon. So goes the journalistic narrative anyway, one which The Bug hadn't planned for. And all because London Zoo dropped at dubstep's flashpoint of crossover interest, thus any and all bass heavy music from the UK was re-purposed to fit the story arc of “This Is The Sound Of The Future!” by every two-bit writer of electronic music (guilty as charged). It was deemed a Very Important Record in the way it demonstrated dubstep’s exciting potential, even if the music within had only a tangential relationship with that scene’s growing dominance.

Point being, if journalists and folks were figuring The Bug would set out to produc another trend-defining LP for our current times, then they're in for some disappointment. I wasn’t though, perfectly content in knowing ol’ Kevin would deliver his music on his terms and not the expectations thrust upon him. He’s earned the respect to do whatever he wishes, even if he took his sweet time in figuring that out.

If you longed London Zoo never ended, the good news is Angels & Devils more or less carries on from that album. Mr. Martin found himself a solid groove then, and there’s little reason to upset that apple cart when he can still tinker with his winning formula of dancehall grime and crushing dub bass. For instance, he’s invited more female toasters to this LP, including ambient drone ma’am Liz Harris (aka: Grouper), Hype Williams member Inga Copeland, and relative newcomer Miss Red. They all make up an ethereal first half of the album, where Buggy gets to indulge in the chill side of his dub works. Also an added wrinkle to his sound are trap snares (especially in Void, Function, and Mi Lost), because of course there would be.

Let’s be honest though: The Bug’s ace in the hole remains dancehall demolishing tracks, and he delivers in the back half with his chosen devils. Flowdan’s back! Warrior Queen’s back! Death Grips’ now here (wait, didn’t they disband?)! And the bass... well naturally that’s here. There’s nothing subtle about these tracks, coming in ugly, primal, and as aggressive as the most ghetto-dank grime hole you could lose your sense of self in. More please!

Oh, wait, Angels & Devils is already over. Damn, that went by quick, and felt like it was missing something too. I can’t say it’s a lack of ‘album execution’, since it provides exactly what it says in the title: an LP of two halves, one light, the other dark. I guess the unenviable comparison to London Zoo’s too much to overlook, as that record had impeccable album narrative and flow from start to finish, whereas Angels & Devils just comes as it means to go (wha...?). Oh, what the heck, I’ll take it.

Circular - Moon Pool

Ultimae Records: 2014

Circular was another act that got a bit lost in the Great Ultimae Artist Expansion of the late ‘00s. Already brimming with LPs from new-to-roster names like James Murray, I Awake, and Cell, the duo of Bjarte Andreassen and Jostein Dahl Gjelsvik (thank you, c+p!) made their debut to the label with Substans. It was a good album, but didn’t ignite much buzz when surrounded by much other high-class Ultimae music. I think the problem was part of its PR, quick to name-drop Circular’s musical influence as a selling point. Hey, having some sonic similarity to The Future Sound Of London’s not a bad thing, but when FSOL’s already releasing music of their own that same year (the Environments series, remember?), why not go to the source?

Even then, claiming Circular has much in common with ambient ethno-techno of the ‘90s is a hard sell within the current psy-chill scene. There’s been remarkable growth and evolution in the loosely tied genre, some of which Ultimae itself was instrumental in. Taking on an old-school leaning act may not sound all that appealing to folks eager for the cutting edge of chill-out stylee. This had to be on Circular’s mind in the half-decade since Substans: how to sound current while retaining the classic vibe they enjoy so much. I mean, the Ultimae Mixdown™ can only get you so far.

Thus we come to Moon Pool, and by George, Jove, and Jolly The Green Giant, I think Andreassen and Gjelsvik figured it out. Opener Lunokhod (named after the ‘70s Soviet Lunar rover missions) feels like an encapsulation of all the classy things one may find in ethno-chill, new and old. There’s Balearic samples (chants, acoustic guitars, the sea washing ashore), expansive pads enveloping you in an ethereal embrace, chirpy backing synths providing subtle rhythmic build before revealing thick, dubby beats in the back-half, and just being utterly lush on the ears. Not much else on Moon Pool quite packs in that much of a perfect blend, but considering Lunokhod’s the longest track here (thirteen-plus minutes), it’s not surprising it comes off like a centerpiece of this album, point man status notwithstanding.

While Lunokhod may be the highlight out of the moon gate, the rest of the album more than holds its own. There’s pure ambient bliss-outs (Selenic Light, Meteorites), mildly uptempo acid-chill (Ashlands, 3 Moons, the latter of which wouldn’t sound out of place on a Solar Fields LP either), a touch of the world-beat (Synchronous), and your obligatory darker Aes Dana collaboration (Imbrium). Tying it all together is a loose theme built around, well, Luna, giving this album a strong sense of journey from start to finish, no track deemed a pass, much less stand alone (beside Lunokhod at least).

Circular may not have been a sexy purchase when they first joined Ultimae, yet I see no reason to skip out on Moon Pool here. It’s as class an Ultimae LP as anything from the main players of the label.

Oliver Lieb - Inside Voices

Psychonavigation Records: 2014

Remarkably, astoundingly, and even bizarrely, this is the first full-length album Oliver Lieb has ever released under his own name. In a music career that’s spanned twenty-five years, the closest he ever got was the relatively unknown 1993 “O. Lieb” LP Constellation on Recycle Or Die – it was re-released under his full name, but digital-only, making it a retroactive example. Thus, Inside Voices remains the the first proper album gracing Lieb’s full name. Psychonavigation Records must have a lot of clout to have convinced him to do so.

This is also Lieb’s first proper album of new material since The Hive as L.S.G. (no, The Unreleased Album doesn’t count – it’s ‘unreleased’), though he’s put out plenty of singles under various aliases in the decade-plus since. As such, long-time fans (*cough*) were abuzz at what ol’ Oliver would cook up for this curious ambient label from Dublin.

Well, ambient obviously. The initial comparison will fall upon Into Deep, but Inside Voices is far more subdued and minimalist than that L.S.G. album. For one thing, beats are practically non-existent here, occasional bass pulses and shuffly clicks from deep space about all we hear on that end. What rhythmic lines that do emerge are carried by backing melodic synths – not exactly arps, but tracks like Surface Tension, Dreamfields and Self-Aware Universe feature slight hooks with building momentum behind them. Mostly though, we’re dealing with lengthy sweeping pads, spacious sounds drenched with echoes and reverb, and minor-key chord progressions when melody does take centre-stage.

For anyone well-versed in Lieb’s discography, Inside Voices will sound overly familiar. Though he isn’t outright recycling prior music, there is a sense he’s playing things safe here, using many trusty synths and melodic constructs heard before. No doubt, it’s a different approach to his tropes, focusing on the sonic space between his recognizable techniques, yet I can’t help feel some disappointment in not hearing much in the way of new sounds. It’s a fresh album, with a fresh start (new ‘alias’!), on a fresh label (that’s been around for over a decade), so why not offer us fresh synths or fresh soundscapes? I mean, the Solieb stuff may have been trendy as all Hell, but at least it was different, something new in Lieb’s discography.

Of course, this is just my quibble, extra expectation placed upon a producer that doesn’t have anything left to prove. Even if Inside Voices isn’t treading waters far from shores since wandered, ol’ Oliver’s sound remains uniquely his – you won’t find an ambient album full of spacey synths and trancey chord progressions quite like this one, since no one’s come close to Lieb’s style of song craft. For any long-time fan of the chap from Frankfurt, that’s more than enough reason to pick up Inside Voices, especially with new LPs from Lieb growing ever more few and far between. Hey, maybe this’ll spark his creativity some more, productions and releases soon outpacing his blistering early ‘90s heyday. Hail Psychonavigation Records if so!