Showing posts with label downtempo. Show all posts
Showing posts with label downtempo. Show all posts

Saturday, February 17, 2024

Various - Clockwork Manor (Cottage Industries 9)

Neo Ouija: 2019

As mentioned in my first review of a Cottage Industries, the Neo Ouija series has pretty much become the label's sole output in recent years. Really, it's kind of funny Lee Norris would dust off the old print just for this reason. Then again, he's got so many labels and affiliates since this one's early '00s heyday, I doubt he'd be able to keep track of what artists should go where and so on.

Yeah, its relaunch probably had as much to do with releasing new Norken and Metamatics material than anything else, but why waste the opportunity to bring other talents into the fold, even if its only via compilations. Still, it must have proved successful, as after the first couple Cottage Industries tested the waters with single CD options, the ninth edition, Clockwork Manor, goes hog wild with a triple-disc, thirty-six track extravaganza. Or overload, depending on what your enjoyment threshold is for various forms of experimental IDM glitch-pop.

Of these thirty-six, I only recognize a handful of names: John Tejada, Ambidextrous, Ruxpin, Drøn. That led me to believe I was dealing with a bunch of new artists, the compilation going out of its way to highlight up and comers. Yet clicking through most of their Discogs entries, that's hardly the case, many actively releasing material throughout the '10s. They may have been extremely obscure, getting shine on Neo Ouija their biggest break and all, but still, some spent in the trenches getting there is good.

This is also one of those collections of music where you could assign a unique genre to every single track, if you're anal-retentive enough about music classification. I gave a very generalized style-salad above, but that's only scratching the surface. There's honestly something enjoyable for everyone here. Randomly picked, there's Boards-like downtempo (Velum's Break Infinis) or confounding skitter-skatter beatcraft (BLN's Ly Oc) or noisy electro (Carbinax' Capable Beast) or shuffly frigid-acid (Octavcat's Icefield) or clicky mood music (h7 buffer's Qwon Trill). Only duff I recall is a lone dubstep track, 4D3x from Dialed, sounding like an out-of-place 'alleyway toff' among so much undeniably dorky music.

If there's this much music worth discussing across three CDs, why don't I split this review up as I've done in the past? Well, despite ordering the 3CD option off Bandcamp, I never received them (not the first time this happened from this label, sadly), leaving me with the thirty-six track digital version. And believe you me, when trying to sit down and take in nearly three hours of this stuff, a lot of it kinda' mushes into your brain. Matters aren't helped when the sonic diversity is wildly abrupt, with track lengths averaging four-to-six minute, such that material doesn't have much chance of standing out in single playthroughs. Frankly, I often felt like I was listening to a glorified label sampler rather than a thematic compilation. Which kinda' sums up my thoughts about most mega-massive 'streaming playlist' collections of the modern era.

Monday, December 11, 2023

N:L:E - Bioluminescent Forest

Liquid Frog Records: 2020

When I think of a 'bioluminescent forest', I think of the out-wordly foliage of those Avatar movies. Which, y'know, makes one-hundred percent sense, since the alien world of Pandora does feature all manner of indigenous fauna that glows in the dark. It's like James Cameron wandered the woods of an outdoor psy trance party and thought, “This, but naturally grown.” Come to think of it, ol' Jim's been fascinated by bioluminosity since at least The Abyss, a movie featuring an entire underwater realm of beings bespeckled in shimmering lights emitting from their metabolisms. I'm sure its his motivating factor in all those deep sea dives, hoping to stumble upon a true Atlantian civilization hidden within oceanic depths so far uncharted. Eh, we've done an adequate job surveying the abyssal plain thus far – ain't much down there after all.

Where was I? Oh yeah, Bioluminescent Forest. I bring all that Avatar business up because the Pandora forests are what I associate with such a title. Why, then, is the cover art of Natural Life Essence's album so drab and grey? I mean, it's a nice picture of a meadow at dawn, but hardly a forest, much less of a bioluminescent variety. Then again, there aren't any naturally occurring plants that glow in the dark as it is, so it would be a heavy ask for Juan Pablo providing cover art of such a thing. Plus, given the track names of this album, the cover art does make more sense. One doesn't think of shimmering lights when reading titles like Cold Thick Fog, Night, and Rainy Day. Methinks the theme may be a bit muddled here.

The first half at least sets out as it means to, The Autumn Ritual opening with some nice field recordings before settling into a nice, dubby jaunt of glittering synths and groovy rhythms. I wouldn't call this psy dub, but it does remind me some of Sync24's works, just without the added acid. Follow-up Tree Reunion slows things down, even invoking some Amazonian rain-forest vibes ...a vibe I just realized has been noticeably absent from Mr. Giacovino's work considering he resides in South America. True, Argentina ain't equatorial, but y'know what I mean.

Anyhow, as the album plays out, I can't help but feel we're mostly exploring similar ideas over various styles. The three-track run of Night, And, and Day lasts well over thirty-five minutes, and is practically the same musical piece, just progressively more minimalist and ambient. It's neat after a fashion, but rather feels out of place among all the other tracks, especially since the almost chipper reggae-dub of Cold Thick Fog precedes it. More than that though, many of the backing, whispery synth pads sound like they're in the same key, leading to the whole album sounding rather samey throughout. Still, hearing the gentle pitter-patter of percipitation in closer Rainy Day as gentle synths bip and bop about, how can I have negative thoughts about Bioluimiscent Forest? I simply cannot.

Saturday, September 16, 2023

Sykonee's 'Sportsing' Surveys: TIPPER

You know the type of fan: those who are so enraptured by an amazing artist, they can't help but endlessly go on about their genius, all the multiple layers of ingenuity within each construct, and will make damn sure you know about it, whether you care or not. The Tool Fan is probably the most famous of the lot, but many such acts have had such fans over the years. Pink Floyd, Radiohead, Kanye West, and so on. And it's never enough that they simply enjoy their fav's while letting others be, oh no. They must preach the Genius Gospel to others any chance they get, as though they're revealing some forbidden knowledge to the plebs that only they understand.

And I get it. No, really, I do! I've had moments like that in my own musical crusades. Early on in my Trance Wars, I would invade any unsuspecting forum or chat going on about the latest Dutch DJ, proclaiming their prefered trance as the bunk, espousing the true artistic genius of such God-like names as Kox Box or Oliver Lieb. And you know what? I was wrong to do so. Nothing turns folks off from an act faster than some twat invading their space telling them their taste in music is wrong, and it would only be right if they would just listen to the finer details of this particular style. Nay, 'tis better to create your own podium (re: blog) if you absolutely feel the need to sermonize about your taste in music - let the people come to you.

Where was I? Oh, right, Dave Tipper. Yeah, he's got one of those fanbases too. Not nearly as obnoxious as some other electronic music acts (Boards Of Canada, Porter Robinson, Illenium, Ricardo Villalobos, nearly any popular tech-house DJ, really ...Bassnectar, before all that), but I've definitely had those conversations with Tipper fans. That he'd be so much more popular and recognized by the industry at large, if only more people heard and "actually understood what he's doing in his music". Yet when I listened to a couple tracks or watch a festival vid', I seldom came away thinking any more of his talents than what was presented. Maybe I needed to hear the whole story, then, all of his works (or at least, his albums), then I would see the light? Let's get that survey on, then!









After all that, I'm sure folks are wondering: do I feel Tipper's hype is justified? After a fashion, I'd say so. His attention to sonic detail cannot be denied, and if that's what gets your jimmies off the most about electronic music, then have at 'er. Whenever he'd get super-deep into the weeds, however, I more often than not would start checking out. It's just a style of excessive production I care little about, and truth of the matter is, not many others do either. Tipper's style fills a particular niche, and for those fond of that niche, he's their God favoured son. I just don't always need to hear about it.

*whew* All this Serious Artistic Music has made getting hype during my 'sportsing' endeavours difficult. I think I need to get back to some 'dumb' music again. Gonna' do another Mastodon poll, but don't be suprised if my next survey is significantly less musically challenging.


Thursday, September 7, 2023

Ra - 9th

Suntrip Records: 2008

Okay, I could have sworn Ra were super old-school goa trancers. I mean, they certainly have been around since the early years, technically forming way back in '94 (so sayeth Lord Discogs). Apparently they never released much until well after the fact though, their debut album To Sirius coming out in the year 2000. I dunno', I'm just getting some serious Mandela Effect on their name, one I thought cropped up on numerous psy trance compilations throughout the '90s. They got some tracks on the endless Goa-Head series, but not until after the turn of the millennium. Is it because they also featured on numerous Altar Records CDs, including features on that label's 'Elemental' run? That may have something to do with associating Ra with a solid compilation game, but not thinking they've had numerous albums out before then.

It's the title of this one that's got me all confuzzled, isn't it. When an artist names their record 9th, I just assume it's their ninth record. But this isn't their ninth – it's their second. Why is this called 9th, then? Maybe I should actually read the liner notes, get some insight into the inspiration for this album.

Uh huh, uh huh... Hmm, something about the 'ninth insight' required to raise one's spirit density level. Erm, why does that remind me of New Age mumbo-jumbo? Let me check double-check that... *commences with the Googling* Ah, The Celestine Prophecy. Of course it is. Well, I won't hold it against them.

Anyhow, as mentioned, Ra have been around the block for some time, a pair of Norwegians teaming up to release a resolutely ol' school goa trance album with To Sirius. This actually garnered them some positive attention, as this was in the era of psy getting very minimal, proggy, fussy... y'know, all the things that classic goa wasn't. It makes perfect sense, then, that when resolutely ol' school goa trance connoisseurs Suntrip Records were getting their stride on, Ra would be among their earliest acts to sign. Despite a slight delay, the album came out in 2008 to much... appreciation, I guess?

I personally feel 9th is a solid enough excursion into what folks were (and still are?) calling the Neo Goa sound, which Suntrip are very much proponents of: classic goa trance vibes with (then) modern production values. In a nutshell, stuff that maybe wouldn't have stood out as classic 'back in the day', but compared to the prog-psy plod and full-on fluff that was making the rounds when it came out, definitely material that stands out from the pack. Aside from an opening vocal that reminded me Snap! sans Turbo B, I very much enjoyed the tunes on 9th, but generally only as they played. Perhaps Ra's use of synth leads are a tad too subtle to really stick after. Or I'm just mentally hedging my exceptions because, got'dang, have I got a lot more Suntrip to sift through in the coming year. Could be, could be.

Wednesday, August 30, 2023

Yaghan - Yaghan's Land E.P

Liquid Frog Records: 2018

Before you ask, yes, this is titled Yaghan's Land from 'Yaghan', and yes, this is still the same Juan Pablo Giacovino project that would immediately after be referred to as Yahgan. And no, this isn't some weird typo or misprint on his part. Truth is the two had been interchangeable for centuries, with many other variants floating about in that time, depending on era and European interpretation. So it goes with Native American peoples, even ones living in as remote a region of the global south as one can get without crossing into Antarctica. If you want to be respectful and proper-like with their lineage, however, Yahgan is the correct name for history's southernmost mini-civ'. I'm guessing when Juan Pablo launched this side-project, 'Yaghan' was the version he was most familiar with, then promptly switched to the traditional 'Yahgan' after digging a little deeper into the subject. And since The Internet never forgets, just kept the original EP name and title as-was. 'Tis fine, really it is.

As for how early into Mr. Giacovino's catalogue this came out, Yaghan's Land came out quite early indeed. Bandcamp chronology dates this just after Wave Bio Collector, and since this was another release of his I had to submit to Lord Discogs' archives (that whole 'Yaghan / Yahgan' thing is gonna' be a doozy for moderators, no doubt), I have to assume it was self-released. Or maybe it came out on some ultra-obscure netlabel with, like, three releases on it? I'm getting way too deep into the weeds of these details! Somehow seems appropriate given how many of his N:L:E albums focus on micro-fauna.

Anyhow, the EP opens with a titular track, lasting a mere three minutes long. Okay, that may seem long if this was any other dance music genre EP, but as this is a pure ambient piece with cystaline synths and wind-swept atmosphere, you'd think more time would be spent settling us into the frigid Yahgan climate. It's also quite grandiose compared to the rest of the EP, follow-up Travelling a far more subtle affair. There's still that sense of being out on the frontier, but remote and isolated. Soft rhythmic patters and melodic pulses gradually emerge as singular synth strings ebb and flow in support, but never reach a rousing crescendo, keeping things on the calm and tranquil, even if a little epic vibe is implied towards the end.

On the other end of the EP are two parts of Rupture In The Echo, totally some twenty-three minutes of playtime. The first is also a mostly ambient affair, the softest pitter-patter offered as a sporadic rhythm. Simple synth drones and distant waves make up the bulk of this piece, a remarkably soothing journey of minimalist tones. In case you need a little more pep in your tunes though, Part 2 brings in actual ambient techno beat to the fray, dubby effects thrown on for flair. Cool, but I rather prefer the beatless option. Makes for nice dozing music.

Wednesday, August 23, 2023

Nightmares On Wax - A Word Of Science (The 1st And Final Chapter)

Warp Records: 1991

Probably not the only Nightmares On Wax album you're supposed to have, much less start with if you're beginning a Nightmares On Wax collection. Indeed, many point to Smoker's Delight as the true beginning of the NoW legacy, what with its clear demarcation within the trip-hop pantheon. Hell, the genre technically didn't even exist yet when A Word Of Science came out, though a few tracks here definitely helped create the DNA that would form the basis of all those depressive downtempo vibes. Nay, the Nightmares debut is still very much a product of its era, and that era includes the bleep techno of the UK rave scene, of which early Warp Records were prominent champions of. Who's got time to chill the fuck out when there's illegal parties to hop about?

Still, it's that Warp lineage that's retained A Word Of Science's cultural cache to this day. It sits at a significant crossroad, lodged between the LFO debut Frequencies and the seminal series debut of Artificial Intelligence. Where even though the ravey roots of the label are still present, time is spent on tunes feeling the downswing of a night, preferably enjoyed while loungin' about with a spliff in hand. A big part of this is due to the brains behind NoW, George Evelyn, leaving no personal influence off the table. He may have felt this was his one shot at getting his vision of music out there – a 'first and final' one, if you will. So even though the Nightmares On Wax story kicked off with some techno records, here come the funk, soul, and hip-hop samplings sharing album space with the warehouse tools.

Of course, if you're coming into A Word Of Science from the future, with little historical context, you could very well assume this being more of the trip-hop groove that defined Smoker's Delight. Right from the jump, we're greeted by Nights Interlude, their classic easy-going, laidback downtempo jam of jazzy solos and soulful strings. A tune so timeless, it continues to appear on 'chill out' compilations. A vibe so sweet, George basically opened Smoker's Delight with a remix of it. That's about it for such tracks on this album though. Playtime gets a little more sultry, Back Into Time a little more Steve Miller Band-y, and E.A.S.E more playful (you can hear Gorillaz in this one), but the rest of A Word Of Science...? Yeah, not so much.

Instead, you get bass-rattling, minimalist UK techno (A Case Of Funk, Biofeedback, Aftermath, Dextrous, Sal), stabs at vintage house (Coming Down, Fun), and a little Brit-hop for good measure (Mega Donutz, How Ya Doin', the beatbox outing of B.W.T.M.). Very little of this excels beyond the year from whence it came, their dated attributes front and centre. And hey, if you're down for such 1991 sounds, then A Word Of Science will serve you fine. For many though, an adjustment of expectations is a must. Maybe borrow your older uncle's nostalgia headphones for a session.

Sunday, August 20, 2023

N:L:E - W:O:O:D

Liquid Frog Records: 2021

Yeah, yeah, get in your puns here, Beavis. I know you can't help chortling seeing two tracks titled Log, Butthead. I'll grant the dimwitted duo's commentary for the Christmas Yule Fire video is legendary, but not everything must refer back to that. Sometimes, a lump of fallen bark is just a lump of fallen bark. Still, I wonder if ol' Juan Pablo suspected some potential sniggering over titling an album Wood, hence breaking the lettering up with colons (“hehe, heh”). Also, he'd condensed 'Natural Life Essence' to N:L:E by this point, plus would soon adopt H:U:M for his space-leaning works, so maybe he was growing fascinated by the double-dotted punctuation. It must have been a brief flirtation though, as W:O:O:D is his only album released with such quirky titling. So far...

I feel well entrenched in Mr. Giacovino's particulars now, and there's little minutiae I can find surrounding this release. It seems, in his never ending quest to find inspiration in all the ferns and fauna of our realms, he finally found the forests with W:O:O:D. Why, then, does the cover art look like moss on stone? Gotta' save the tree beauty shots for the Caravan Of Healing Sounds series? Whatever the case, it's clear I'm dawdling to burn up self-imposed word count, so enough of that. Let's get into music proper-like.

Following a vigorous two-minute intro of shimmering synths, things get scaled back to chill-out territory on Ancient Echo, a calm, languid pace of digital dub. Eventually layers of bright synths emerge, though not as pronounced as the Intro. A gentle violin adds to the pleasant tone, and that's about it before a nice wind-down. Log gets dubbier with its rhythms, including all the traditional elements like off-beat pulses and endlessly trailing echo with flange thrown on. I've been digging these sounds the earliest ambient dub days, and ain't no way I've tired of them yet. Heck, the Walking Again Mix that closes the album even adds some philosophical dialogue, which is about as cliche as it gets. Ain't no bad thing from my end though.

Appropriately for a track inspired by the little skittering critters you find when you overturn said logs, Drill Bugs goes more minimal with sparse percussion and spritely melodies, while South Winds does the ultra-subtle psy-dub builder business. Speaking of psy-dub – or one-time psy-dub adjacent - Reforest [ Birds And Leaves ] sparks some vintage Ultimae Records vibes from yours truly, including the spacious dub effects that let you hear all the emptiness between bass throbs. Maybe not so widescreen as you typically hear out of Aes Dana's studio, but for a self-produced item, Juan Pablo comes remarkably close. Through The Cracks In The Wood gets back to the groovier ambient dub lane.

Yeah, groovier is a way I'd describe W:O:O:D, at least compared to the other N:L:E albums I've thus far covered. It's been a few since I've started on Mr. Giacovino's catalogue, but there's still a whole lot more to come.

Monday, August 7, 2023

The Future Sound Of London - We Have Explosive 2021

fsoldigital.com: 2021

Of course this was up for a modern remix album. Aside from Papua New Guinea, it's possibly FSOL's most well known single. Not that it was their best, oh no. It's just when all of '90s electronic music reached its 'electronica' fever pitch, the blunt, big beat brashness of We Have Explosive made all the rounds of the compilation circuit. One can't help but suspect Brian and Garry made this as stupid-simple as possible, a far cry from all the psychedelic, 'future sounding' music they'd been making since signing with the Mighty Virgin. But hey, the trick worked, We Have Explosive remaining one of their most recognizable productions to this day. Nothing will get you hype speeding down super-sonic racing tracks like hearing those blaring digital alarms and funky guitar licks.

That did have me mulling over a question though: what else can you do with We Have Explosive? Or more importantly, was there anything else I cared to hear? The original and Herd Killing are all I know, and was quite content leaving it at that. Unlike various forms of Cascade and Lifeforms, I've never heard alternates of We Have Explosive floating about, leading me to conclude all that was ever needed out of it was accomplished with the album variants, the extended takes unnecessary to all but completists. And given the FSOL boys have long been uninterested in returning to boshy dance music, there didn't seem much room for further exploration of the track. Still, that doesn't mean they wouldn't give it the ol' London college try.

The original kicks things off, and though given a little extra production beef and flair, it's basically as you remember it in the years 1996 and 1997. Ah, the memories of that utterly bizarre music video with the bobble heads and plugs come rushing back. Implosive, meanwhile, takes things into rockier pastures – or psych-rock in this case, followed upon by a heavy, trip-hop take with Abandoned Housing Blocks Of Prypiat. Jonesing for something more experimental and modern? Tracks like Vaporise and Slide Door will have you covered, all skittery broken beats and minimalist soundscapes – almost sounds like they'd be more at home on an Environments CD.

Okay, so FSOL can take We Have Explosive into some nifty tangents, but c'mon, let's hear some real kick-ass stuff, mates! Detonation basically chops and screws everything up into a funky freak-out, Herd Killing is also given the 2021 're-beefening' treatment, Exploding ramps things up into drum 'n' bass territory, and Exotype... Holy shit, this is some menacing-as-fuck frantic breakcore shite! Ah, the 'what if' possibilities of FSOL going full IDM, eh?

A few more sampledelic groovers round out the rest, including Waiting Your Return, which borrows more from Vit Drowning and Through Your Gills I Breathe than We Have Explosive. Ah sweet, those are some of my favourite 'deep cuts' out of the classic FSOL catalogue. Well played, good sirs, you've given me more than I'd hoped for.

Sunday, June 18, 2023

Yahgan - Ushuaia

Liquid Frog Records: 2021

Can't deny, I initially thought this was a different artist. Like, it wouldn't be out of the ordinary for Mr. Giacovino to have a few other acts on his self-release net-label, and seeing a couple collaborations between “Yahgan” and “N:L:E” only solidified that assumption. But nay, once I did a tad bit more research on this (re: submitted this release to Discogs), I realized this is just another alias from ol' Juan. Gosh, are all the items there like that? I see a couple more project names (Spiritual Fields, Kiphi), so maybe so. And here I thought I was buying up a label's worth of new producers. Damn, that actually makes the rate of his output even more impressive!

Still, this alias should have been a small clue out of the gate. Yahgan is a reference to the peoples that lived in the southern end of the South American continent since... well, since peoples ever existed there. Archaeology finds have dated artifacts of the Tierra del Fuego region as some ten-thousand years old, so a hefty amount of time existing in such a remote area of the world. The Yahgan weren't completely isolated though, other tribes dwelling about the archipelago. Being essentially huddled into the southern tip, however, led to a language and culture quite unique to anything else in the area. What I find fascinating is how this latitude compares to its northern counterpart, particularly the contrast between the indigenous peoples from my old stomping grounds. In some ways, the Yahgan and Haida are similar (isolated, seafaring archipelago folk), but how those root cultures evolved over the centuries couldn't be further apart. Maybe if Cape Horn had more lodgepole pine trees.

Anyhow, I assume Juan Pablo was inspired by the O.G. Argentinians to start crafting music with remote vibes in mind. Maybe not so dark ambient as Ugasanie goes, but something that captures the spirit of nomadic wanderings among tundra islands. Which kinda' makes naming a major port city Ushuaia a tad funny, seeing as how the Yahgan didn't really have permanent settlements. Still, the name is apt, more or less translating from the native language as “deep bay”. More proudly, and from which Juan gained his inspiration from, Ushuaia lays claim to being the southernmost city on the globe, “end of the world.”. You go, girl!

Like H:U:M's Universal Code, Yahgan's Ushuaia features four tracks, the first three of which build upon each other. Fortunately, there aren't obvious pauses between them, each piece distinctly their own, even if they're re-using similar sound assets. Once again, Part1 is the pure ambient outing, grand synth pads flowing about while a rather crisp, watery sound drips in the background. Part2 adds rhythmic synth harmonies, giving the piece momentum before brighter synths shower down at the peak. Part3 brings some actual downtempo beats to the fray, while the N:L:E Mix beefs the rhythm into dubbier pastures while adding some mildly glitchy sound effects. Ooh, were these in an Oliver Lieb sample pack?

Saturday, June 10, 2023

N:L:E - Uncharted Lands

Liquid Frog Records: 2022

No sooner do I finish one box-set than I start another. Kinda'. Okay, buying the bulk of Liquid Frog Records' Bandcamp catalogue doesn't technically count as purchasing a box-set. Hell, as this was an entirely digital transaction, I have no actual physical copies of any of these items. How can I call this a box-set if there's no literal box? I know! I'll dump all the files into one large .zip! That's like a digital box. Or maybe settle for a folder titled “Natural Life Essence & Co.”, print off a screen-cap of it, then hang it somewhere near my CD shelves. It'd be just like saying you hung out with celebrities, by surrounding yourself with cardboard cut-outs of them. Or Calvin and Hobbes hanging out on top of a ladder when they're told they can't climb trees.

It feels a tad odd starting a near-complete dive into Juan Giacovino's project in this manner. When confronted with so many sound samples of equal value and quality, however, I had a Hell of a time deciding what select few I wanted to indulge in. So I bought them all. And hey, if I didn't think there was enough diversity among these eighty-something releases to warrant individual review of them, I wouldn't have done the deed. At least, I hope there is... *eyes ten volumes of Caravan Of Healing Sounds with trepidation*

And thusly, by arbitrary alphabetical decree, I'm kicking this off with one of Juan's more recent offerings, Uncharted Lands. With cover art of frozen wastes in greytone, this looks to be another exploration of chilly soundscapes from N:L:E, a frequent theme within his archives. And space music, if I'm honest. And micro-fauna, come to think of it. Not to mention macro-biomes. But arctic regions, that, definitely.

The titular opener greets us with soft, velvety pads, eventually giving way to a groovy little downbeat, and oh my God! How wonderful it is to hear rhythm again after so many hours of ambient music! Erm, anyhow, Uncharted Lands adds in fuzzy, dubby effects and a sliding synth lead, almost growing epic in an unassuming way. The Desolate Land Mix at the other end of this EP stretches things out more by remaining mostly beatless, save ambient techno patter towards the end.

Between those two tracks is a three-part excursion called Expedition Caravan (Juan loves his caravans). Part 1 is the sort of moody, slowbeat dub techno that Ultimae Records has made their domain as of late, though at least not quite so vaporous. Part 2 strips things down more, letting layers of voice pads wash the sparse rhythms like waves against a shore, while Part 3 opts for more focus on groove, melodic harmony staying in the background before finally strutting its stuff down the stretch. At over fourteen minutes though, it does drag a little before getting to the goods.

Still, a solid first second impression into the N:L:E oeuvre. Only a couple dozens more to go.

Monday, March 13, 2023

AstroPilot - Solar Walk IV. YOUniverse

Blue Tunes Chillout/AstroPilot Music: 2016/2017

You'd think it'd take me less than... *squints* seven years to nab a copy of this. Indeed, when I did take the AstroPilot plunge, I grabbed every one of the Solar Walk albums, plus the remix outing Star Walk. So should another edition come to light, absolutely I'd be there ready to slap down some coinage for it.

As it turned out, this was about the tail-end of his tenure with Altar Records, shortly after setting up his own eponymous digital label to self-release material. And as a means to kick things off, he launched the label with Solar Walk IV. YOUniverse. Like, it's just good marketing sense when establishing your own print, dropping with the ambient series you're best known for. Perhaps somewhat foolishly, I assumed a hard-copy edition would drop as well, so held out on it. And held... and held... and held... It was only after checking back in on AstroPilot's Discogs page that I realized, “Hmm, there isn't gonna' be a CD of Solar Walk IV, is there.” Fortunately, digital albums never run out of copies, so it was simple t'ings finally get one for myself.

While previous Solar Walk albums explored the grandeur of the cosmos, the subtitle of IV implies we're in for a journey of inner space. Or that you are the universe, made manifest, so here's some music to get to know yourself better. Wait, that sounded kinkier than intended. Um, 'when you stare into the cosmic abyss, it stares back at you'? Nope, that ain't it, Solar Walk IV far too uplifting for such a bleak concept. Okay, I admit, YOUniverse comes off a tad hokey as a title, but whatever, it's the music that counts, and once again Dmitriy brings the opulent psy-chill and space ambient goods.

We're certainly dropped into the big, emotional feels with Our Second Sun, picking right up where most Solar Walks left off. What's this though? Some light groove to go along with the densely layered synth tones? Gosh, might YOUniverse forego the pure ambient pieces for something more on a steady prog-psy tip? Second track Balance certainly suggests so, offering it's own light rhythm in support of the usual cascade of bright pads. Third track Desolate Spaces scales things back though, a beatless affair and much less overbearing in its use of layered drones.

Solar Walk IV mostly alternates from there, with a gradual ease down to more reflective, contemplative pieces over the 'space symphony' tracks of the first half. There's even a touch of melancholy in Through The Veil and Frozen Time, though with synth harmonies this bright and bold, even the downtempo moments are grand.

Which has always been par for the course with these Solar Walks: music for epic feels, stupendous stargazing, and all that fun stuff that makes watching documentaries about cosmic splendour all the more addictive. It may not be as subtle as some space ambient goes, but if you wanted that, there's always Silent Universe.

Wednesday, February 22, 2023

Children Of The Bong - Sirius Sounds

Planet Dog/Mammoth Records: 1995/1996

In the great Electronic Music Encyclopedia, the chapter on “What Could Have Been...?” is replete with artists, acts, producers, and projects that never saw their fulfilled potential. In a psychedelic scene with many flash-in-the-pan names and one-and-done wonders, Children Of The Bong's story always felt particularly cruel. A promise of something truly unique and remarkable, cut entirely too short due to circumstances utterly out of their control. Misters Henry and Goganian basically created psy dub years before it ever caught on!

I'll grant there were already tunes on the downtempo side of things within the psy scene, but much of it seemed in flux with already existing genres - ambient dub, world beat, acid breaks, goa trance, and so on. It took a true all-star act like Shpongle (re: Simon Posford and Raja Ram) to essentially set the terms and tropes of what psy dub would go on to entail. Yet for all the groundbreaking ideas those two were credited with, Children Of The Bong got there first, and quite possibly were even more intuitive with said ideas involving improvised analogue gear, as evidenced on their lone album, Sirius Sounds.

All those wiggly, squiggly, free-flowing trippy-drippy sounds psy dub is so often associated with are in full effect here. Hell, there's a track titled Squigglasonica, itself something of a spiritual successor to Ionospheric State (which I touched upon in Transmissions From Planet Dog). Funky, hip-shakin' rhythms coupled with delightfully fun knob twiddling on those wormy acid leads, and how could you not think of a title more appropriate?

These tracks are more representative of the sort of live jams Rob and Daniel would do, but they made room for more traditional takes on psychedelic world beat too. Well, about as traditional as anyone out of the Megadog scene would go, and even then throwing in their wildly warped variations of it. Interface Reality may be comparatively chill, but that don't mean the acid doesn't get a good workout along the way. The Veil has the sort of po-faced spiritual samples coupled with tongue-in-cheek low-ridin' basslines that reminds everyone not to take this scene too seriously. Underwater Dub gets about as deep into the reggae dub side of things as you could possibly go with this album, while Life On Planet Earth... actually sounds like a fairly typical spaced-out psy-dub track, until you remember it came out years before that was really a thing.

Okay, so clearly Children Of The Bong were 'ahead of their time', and all that. Why are they not regarded in the same breath as that scene's major players, then? Two reasons, one clearly being they broke up shortly after Sirius Sounds came out, Rob Henry carrying on with different music after. The second is just bad label luck, Planet Dog/Ultimate already showing strains of mismanagement with their signed acts. Fortunately, tales of the Bong continued to linger over the ages, and Sirius Sounds has seen some expanded re-issues recently. No excuses for overlooking this album any longer then.

Sunday, February 12, 2023

Yamaoka - Short Films For Long Days

Databloem: 2016

Speaking of artists I've neglected, here's Yamaoka again! Sprung for a couple of those Databloem discs, but wouldn't you know it, he's gone and released more since, including another collaboration with Purl (two, if you count Sculpture on Shimmering Moods Records ...must ...resist ...Bandcamp ...page), and another album out on Carpe Sonum. This man's a machine, with a back-catalogue some thirty albums thick now. To say nothing of all the works he did with former partner Yoshinori Yamazaki.

Oh yeah, I haven't actually gotten into the history of this project, have I? Currently helmed by Kenichi Oka, he and Yoshinori had a solid run as Yamaoka releasing several techno records at the turn of the century. If the Discogs chronology is accurate, they took a break in the mid-'00s, after which Kenichi carried on solo, making the name's portmanteau redundant - I assume it was done with Yoshinori's blessing. Debuting on Databloem probably wasn't a breakout for the project, because Yamaoka was clearly successful enough to have such a robust discography behind its back before appearing on the label. Still, it had to be beneficial to his profile, exposing him to more folks than labels like October Man Recordings, Somehow Recordings, Kazumi, and Secret Station managed.

Anyhow, I grabbed the album Short Films For Long Days, not only because it was a namedrop in my last Yamaoka review, but also because it's a double-LP. Sweet, two CDs worth of Kenichi's hypnotic loops and improv melodies echoing for long stretches! Can't wait to dive right into- Holy shit! This album just led-drops you right into it, opener Close Line immediately hitting you with a crash and busy arps. No warning at all. Geez, let me at least get my bearings first, will you Oka-san?

Actually, the track does quickly settle into familiar Yamaoka territory, and at nine minutes, is the longest track on CD1. This disc is essentially the 'techno' half of the album, with loops in play often percolating in intense rhythmic fashion. Some tracks, like To Morning, Expand, and Latch, even get close to having actual drum kicks. Others wouldn't be far removed from trance, if given a bit more bass business (Leap Year, Pict Time). Still, Yamaoka's freeform approach to crafting tracks is in full display here, everything coming off like sketches while jamming with his gear. 'Short films' indeed.

If CD1 is the uptempo side, then clearly CD2 is on the downbeat – or at least as downbeat as Yamaoka can go while still employing endless strings of pulsing loops. The opener here is called Night Train, and if that doesn't feel an apt title for the tunes I've heard thus far, almost like riding along tracks down some dark tunnel. Generally though, CD2 is a calmer session of music, the sketching aspect making more sense with tones lingering longer on drifting echoes. Cool stuff all round, but forgive me for hoping my next Yamaoka outing is a little more structured. Maybe with Purl again?

Wednesday, February 8, 2023

Gabriel Le Mar - Shared Fictions

Carpe Sonum Novum: 2020

I've passively mentioned the need to dig deeper into Gabriel le Mar for years now, so it's about time to properly poop in that pot (or however that saying goes). What CDs to get, though? Something off the defunct Spirit Zone Recordings? That undoubtedly rare Reel Time (because anything off Elektrolux is rare at this point)? The most eye-popping item from his Capre Sonum Novum catalogue? Oh, but Flashin' On is already sold-out, darn it all.

That... is actually happening more frequently with Carpe Sonum, come to think of it. Even newer items, like Dr. Atmo's To You, Humanity, and Sven Kössler's Bck T• Lvng, run out swiftly. To say nothing of whatever edition of that Pete Namlook tribute box-set Die Welt Ist Klang is up to now. Man, and here Carpe Sonum was, that ambient techno label you could count on not running out of their limited-run CD stock.

Anyhow, I settled on Shared Fictions, for two reasons. One, it was the most recent item from Mr. le Mar when I happened by the Bandcamp shop – not much more scientific than that, my friends. Still, the fact it was a double-LP made the deal a little bit sweeter. Sure, the second CD is another of Gabriel's 'stripped' sessions, providing beatless versions of tracks off the album proper, but that's a gimmick I'm game for another round after hearing it on his first Stripped release.

The PR blurb has Mr. le Mar claiming inspiration from the fantastical literature and stories of human history, which he wished to express through... only eight tracks? Huh, well, there's something to be said for being concise. Still, though there are some elements of such within the titles (Stay In Wonderland, World Tree, Mythical Past, etc.), I can't really say the same for the music on hand. By and large, this is a collection of tight, groovy psy-dub tunes, with little in the way of post-Shpongle influenced waffle. Sometimes the acid gets a good workout (Deep Focus, Collective Dreamworld), elsewhere Gabriel works in a little guitar jamming, and gosh, that bass playing in City Of Thoughts sure seems familiar. Wait a moment... *checks liner notes* Okay, it's not him. Didn't think so, as the bass tone didn't quite match. Can't blame me for thinking ol' Laswell might have been hanging about for a session though, as this tune really does sound like one of his.

So even if the theme of Shared Fictions seems muddled, the psy-dub on hand is dope enough to not worry about it. How does the bonus disc fare, then? It's certainly a different vibe, and not just because the lack of propulsive rhythms. Tracks are rearranged so they flow more like a downbeat album compared to Shared Fictions Prime, and it's not like they're totally absent of groove either. You just have less things going on, letting you focus on specific details over a grand picture. It's like watching the subbed version of a foreign film.

Saturday, February 4, 2023

Eskostatic - Serpentines & Valleys

Ultimae Records: 2019

I just can't stop giving Ultimae chances, can I? It's like, my interest drifts, thinking the label I once adored has forever moved onto a sound that, while I don't dislike, am not in any hurry to rush out hearing more of either. Then I'll hear something that sparks my synapses again, some fresh wrinkle or genre exploration I hadn't considered being given the exquisite Ultimae Mixdown™. Next thing you know, I'm blind-buying another clutch of CDs, almost always based upon what cover art intrigues me the most. And this Serpentines & Valleys, it doth intrigue me indeed. What are those, dirt bike paths? Rally car race courses? Whatever the case, it's certainly unique among Ultimae's typical focus on natural land forms, no denying the touch of man in this environment. Eskostatic? Never heard of this artist before, so maybe someone new to the Ultimae ranks. Sure, let's pick that sucker up!

And opener Sky Cottage hints at some vintage Ultimae sounds, a simple drone and spritely bit of subtle melody slowly emerging. Half-way through this piece, a deep, digital bass throb glitches in and out, the sort of dub techno that gradually came to define much of the label's more recent output. In fact, the more I hear it follow-up Morning Star, it starts sounding rather familiar. Wait, is this...? *checks liner notes* Ah, Martin van Rossum, also known as Martin Nonstatic, one of Ultimae's regulars now, and an artist I really haven't kept tabs on. His Granite and Nebulae Live At The Planetarium releases just never inspired me to do so. I sometimes think maybe I should, perhaps an album or EP exploring a different facet of his technical dub techno that might latch on properly. Sadly, I can't say this collaboration with Esko Barba (Marcel Montel) does much in getting me hype to hear more.

There's twelve tracks on this album, and most of them follow a similar pattern: spacious ambient drone, ultra-deep dub-glitch bass, with occasional upping of the tempo going from a cool simmer to a gentle bubbling. Some tracks have a more prominent feature added, like the acid in Coastline, guitar in Viamala, or the relatively 'epic' build of the titular cut, but with music performed so subtly, you're gonna' have to really be paying attention to notice the differences. It almost feels like they made a standard track, then someone (Mr. Villuis himself?) kept saying, “No, you need to pull it back more. No, pull it back more. No, more subtle, less obvious leads!”

Again, I don't dislike what I'm hearing on Serpentines & Valleys, but it sure doesn't go out of its way to lure me in either. It basically needs a deluxe, high-grade sound system (or damn fine headphones) to get enough out of its nuances, with no distractions pulling your attention this way or that. As for Martin Nonstatic, I guess I still haven't quite clicked with him either. Maybe one more try, down the road. And another, and another...

Thursday, February 2, 2023

Various - Serenity Dub 2.1 p.m.

Incoming!: 1995

Even for short-lived '90s ambient dub and techno labels, Incoming! feels among the most short-lived of them all. I mean, probably not, in that it had a three year run with a few home-grown acts sustaining it in that time. I even crossed paths with the print once, via S.E.T.I.'s The Geometry Of Night, as fine an example of the darker, more paranoid side of downtempo dub as I'd ever heard from that era. That seemed a chance encounter though, so who knows if I'd have stumbled upon any other Incoming! releases in those years, much less be as drawn to cover art. Maybe that Golden Star CD from Nonplace Urban Field? Or the warped speakers from the compilation Submerged – A Collection Of Blooming Breaks + Bulging Beats - that looks a little familiar.

Regardless, as is tradition with many labels starting out, a compilation or two showcasing their musical manifesto doesn't hurt, and Incoming! did the deed with a pair titled Serenity Dub. I got the second one because, well, I knew more names on it than the first. Names like Rapoon, Biosphere, S.E.T.I., Loop Guru, Scanner, and Mouse On Mars.

Those first four, I already had their tracks, though you can't blame me for not recognizing them as such. Like, I find Rapoon's Vernal Crossing a captivating listening experience, even gave Bol Baya Ace Track honours, but that still don't mean I can I.D. the piece blind. As for Biosphere, Botanical Dimensions kinda' gets overshadowed by Novelty Waves as the highlight off Patashnik. Same can be said for Loop Guru's Tchengo as heard of Duniya. That's all the familiar tunes though. Let's hear what fresh dub music I get to experience for the first time on Serenity Dub 2.1 p.m.

The CD opens with Transonic's Low Space Monitor. Hm, I know that name, but from where...? *THAT bass tone emerges* Oh, it's another Bill Laswell joint. Of course it is. Actually, a pairing with Robert Musso, where the two dropped a few albums over on Fax+. Interesting get for Incoming!, but their world beat vibe does fit. The dub business carries over onto Nemesis Dub System's Caravan (In Dub), a rather dated instrumental, even for '95.

Further along, Scanner does another of his noir-ish downtempo tunes as radio chatter chatters about, while the always interesting Mouse On Mars gets in on some early sound experiments with a minimalist dub throb. Their Chagrin grows very chill over time with relaxing layers of reverb and echo – serenity indeed. Following that, Cosa Nostra almost goes pure space noir on This Thing Of Ours, with ultra-dreamy pads and trumpet playing. Damn, now I want to watch some Cowboy Bepop.

Rounding out the rest are Seefeel and Unitone Hifi with some dubby jams (weirdo shoegaze-reggae and world beat, respectively), and you have about as well-rounded a collection of '90s underground dub music as you could hope for. Well, if you're starting a label promoting the stuff, at least.

Friday, January 27, 2023

Cypher 7 - Security

Subharmonic: 1995

It started with Psychonavigation, then moved on to include Divination. That only left Cypher 7 as the remaining artist from that Alien Ambient Galaxy compilation I hadn't properly indulged in yet. I wasn't so sure I would though, as from what I could glean, this project had the least amount of Bill Laswell input out of all three, his primary credit being “Navigation & Ground Control” (re: producer). Then again, the chaps behind Cypher 7 – Alex Haas and Jeff Bova – worked with Laswell on some of those Divination sessions, so there was bound to be some connective sonic tissue there. Not to mention appearing on Bill's Subharmonic label.

Then again, said label wasn't really a major focal point for the Laswellian One, more of a means to distribute some of his European releases (re: Fax+ output) on American shores, so how much attention could Cypher 7 really be given? Then again-again, Subharmonic also was where he released his take on ambient dub, so maybe the rest of Cypher 7 would lean that way? Ah, fek'it, let's just buy one of their albums should I find a Discogs seller offloading it on the cheap. Ah, here's one! Guess I'll settle with Security, as it not only has two familiar tracks on it (The Suspicious Shaman and Nothing Lasts), but has a cooler bit of cover art too.

Sure enough, opener Message Important gets into some of that vintage Laswell downtempo dub action, with a groovy rhythm, ominous string pads, a quirky sample of French resistance broadcasts, and jazzy playing with organs and bass guitar provided by, yup, Bill Laswell. Just no mistaking that bass tone. Unlike some of his lengthy jams though (this one lasts upwards of fourteen minutes), Message Important is tight and compelling as it plays through. It feels like you're immersed in some noir flick, silhouettes of smoke flowing through the shadowy cracks of a dimly lit basement.

In fact, much of Security has that vibe. Tokyo A.M is a pure, minimalist ambient piece with sparse field recordings of damp back alleys and subtle, sinewy pads, lurking in the dark of door enclaves. Following that, Benares (Open Secret) gets more operatic with opulent orchestral strings and... light Indian singing and drumming? Not quite so French noir as the other tracks, unless you want to count Moroccan into that equation. Which I will because I like me some consistent themes with my albums, yo'. And nothing says French film like having Jeanne Moreau going on about passion and love in Nothing Lasts.

Final track Falling Backwards is another moody, minimalist, experimental ambient piece. At sixteen minutes in length though, it finds room for a little dub jamming towards its end, the piece even morphing into more of an uplifting tone. Ooh, a positive outcome in a noir setting? What is this, modern Hollywood? Sadly not, as Cypher 7 would move on from the project after this. Another intriguing story of '90s underground ambient dub, cut too short.

Sunday, January 8, 2023

Solar Fields - Red

Droneform Records/Sidereal: 2014/2018

Hah, bet you forgot I have a Solar Fields box-set to get through as well, didn't you! Right, it's not that big a box-set, containing just three CDs in all. And it's not like you can't get these coloured-titled compilations separately either, at least in their digital forms. Red / Green / Blue is only a box-set in the sense that it's a tidy consolidation of wayward collections of music, particularly for those who like having a physical medium on their shelves.

Of the three discs, Red is the most redundant to my own music collection, already having half these tracks elsewhere. In fact, three of them appeared on Fahrenheit Projects, but as Magnus was a regular contributor to that Ultimae series, it's only natural a significant chunk of track list space is taken by them. For the record: Union Light comes from Fahrenheit Project Part Four, OnFlow comes from Fahrenheit Project Part Seven, and Electric Fluid comes from Fahrenheit Project Part Two ...or does it? Wait a minute, something seems to be missing from this Red version, the bit of acid towards that track's end. Is this an early mix? *checks through Discogs* Ah, so it is, this version first appearing on a 3D Vision Relax compilation called Module 01. Huh, guess that makes the Ultimae cut, the superior cut, an exclusive to F.P.2.

Some other Ultimae exclusives include the ultra-subdued Combinations (On/Off Edit) from Oxycanta 2 (which I have), the Solar Fields At His Solar Fieldsiest Fiat Lux from Albedo (which I have), and Times Are Good (Sometimes Remix) from Imaginary Friends. I don't have that one. I don't know why I don't have that one. I guess the by-line of “audio poetry” had me thinking it some spoken word outing? Times Are Good is definitely not that, a pleasant slice of charmingly twee downtempo chill. Not the most mesmerizing Solar Fields tune out there – especially on a compilation containing Fiat Lux and OnFlow - but definitely a hint of things to come with Until We Meet The Sky.

Now the rest. Jeezlh comes from an Interchill Records compilation called Future Memories, a fairly standard bit of Solar Fields psy-chill with another winner of a melody at its peak. I'm more fascinated by Solar Fields appearing on Interchill at all though, especially rubbing shoulders with Eat Static and Phutureprimitive (Carbon Based Lifeforms and Cell also joined in). A different remix of Confusion Illusion appeared on a Suntrip Records compilation, adding operatic singing to his blissed-out chill atmosphere, while Compressed Universe goes a little more prog-psy with its uplifting vibes, which makes sense as it first appeared on a Spiral Trax CD. As for Velvet Reptile from the hopelessly obscure Stargate Recordings, it's fine as a tranquil transitional ambient piece within Red, and that's about all.

Still, a top grade compilation, Red is, with some of Solar Fields' best tracks on it. If you had to choose just one, I'd go with this (spoiler for Blue, I guess?).

Thursday, December 8, 2022

Fluxion - Perspectives

Vibrant Music: 2020

Fluxion is another artist I feel I should have crossed paths with more often, but once again, Lord Discogs tells me that's not the case. Maybe it's because I've seen the name Flux Pavilion 'round these here parts for so many years, the name kinda' mushed into 'Fluxion' within my brain. Or perhaps it's immediacy bias cropping up, as I just listened to an album from Simon Posford with the word “Flux” in its title.

On the other hand, why haven't I seen Mr. Soublis' project more often? Dude was among the early dub techno names, getting his break on Basic Channel's Chain Reaction print. He'd later go on to release multiple singles and albums, some through his own Vibrant Music, others on that other Very Important dub techno label, Echocord. Yet if Discogs is anything to go by, his compilation and official DJ mix appearances remain slight, a track here and a tune there about all I see. There may be more that the Ogger community is simply unfamiliar with (!!), but for all intents, it seems Fluxion's name hasn't made that much of an impact beyond the dub techno faithful.

Which has little to do with me, to be honest. As is often the case, Perspectives was another blind buy from the Ultimae shop, that recollection of a name that I clearly had no actual recognition of drawing me in. And hey, a soggy side-street within claustrophobic urban architecture, stretching beyond the photo's parallax, that's enough to pique my interest with this release.

Opener Schism is promising, a gentle ambient piece with graceful reverb and dubby hiss invoking those vintage Burial feels, just without all the vinyl crackle and guns clacking. Follow-up Formation gets the groove going, also about as vintage as most dub techno goes in most eras, but with a nice little melodic through-line – yeah, I can hear why modern Ultimae would hawk this album in their shop. Further along, whopping thirteen-minute Glimpses and 'shorter' nine-minute Glimpses II provide nice, hypnotic journeys with looping rhythmic dub and gently evolving melancholic melodies. Trance, you say? Well, maybe that 'neo' branch, if The Field had gotten more influence from classic Swayzak.

Beyond those tracks though, Perspectives mostly dwells on the jazzier side of dub techno ...kinda'. Fluxion's tried-and-tested genre attributes remain the dominate force in his production, but is never so stiff and cold as this style typically goes, allowing a little emotion and soul within. Tracks like Within, Dawn, Down The Line, and Distance feature more shuffly rhythms with jammy instruments, lending almost an urban-jazz vibe to these digital atmospheres. Even a track like Cliff, with its dub techno pulse similar to Glimpses, comes paired with gentle strings befitting an uplifting moment in a noir film. Has Fluxion always been like this, or are these sounds unique to this particular album? Guess I should check out the rest of his discography to find out. I mean, anything repped on Echocord can't be half bad, right?

Tuesday, November 15, 2022

Sync24 - Omnious

Leftfield Records/Sidereal: 2018/2019

Figured I may as well get this one too, complete the Sync24 collection and all. Yes, the entire four-album discography! I guess there's also that trio of EPs listed at Discogs, and an archive of Daniel's early ambient music called Ambient Archive [1996-2002]. Can't say I'm as interested in those efforts, though who knows how many sonic seeds lurk in those sessions that bore fruit in later Carbon Based Lifeform outings.

But yes, Omnious was indeed Mr. Segerstad's return to his solo project, often trotted out shortly after a CBL album dropped. My suspicion is there's only so many ideas he and Johannes can work into a project, leaving many off to the side for Daniel to make use of elsewhere. That ultra-minimalist ambient excursion titled Suspended Animation too sedate for World Of Sleepers? No problem, put on your own album! Dance Of The Droids just a little too chipper even for Interloper? No problem, put it on your own album! A Deep Sea Meditation Experience perhaps a bit overtly fairy-tale twee for anything released on CBL's new home of Blood Music (Blood Music!). Fret not, your fellow Ultimae Records alum Solar Fields has his own label now, where such music will fit right in!

Yeah, if the quirky cover-art with gathered characters from some indie platformer wasn't a giveaway, Omnious is a rather light-hearted affair. Ain't no wild TB-303 workouts as heard on the 'nighttime' follow-up Acidious, no sir. Well, okay, Bunnies On Mushrooms does feature some prominent acid as a lead, but it's sparse in use, casually bobbing along to a bouncy, psy-dub rhythm. Nothing ground-breaking where this sound is concerned, but a fun little knob-twiddler just the same. Lungs Full Of Clean Air is somewhat similar, though heavier in its use of ...side-chaining? Oh, wow, I thought that gimmick was long dead, but guess it can get trotted out for occasional service.

Mostly though, Omnious is all about tunes on the downbeat, when there's even a beat at all. Second track The Morning Before It All Happened gets on that cinematic ambient vibe that'll have all your vintage Ultimae triggers flaring – why is such a mellow tune at the number two spot though? The Tale Of The Lonely Apothecary gets widescreen with layered dub tones while a melancholy melody glides through, while Coffee Break In Orbit is exceptionally well-titled. Man, nothing but casual reflection while sipping a cuppa' over Callisto.

The final two tracks - That Boring Autumn Day and Wise Whispers In The Wind - really reach down through your aorta, tugging at the heartstrings with their tranquil, graceful melodies. It really makes you wonder why Daniel didn't make use of these for that CBL debut on Blood Music (B-L-O-O-D Music!!), at least until you remember what that label's name is.

Unfortunately, like Acidious, Omnious runs all too short at just eight tracks long, none breaching the six-and-a-half minute mark. Boy, could some of these use an extended remix or two.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. The Prince Of Rap B°TONG B12 Babygrande Balance Balanced Records Balearic ballad Bålsam Banco de Gaia Bandulu Barker & Baumecker Battle Axe Records battle-rap Bauri Beastie Boys Beat Buzz Records Beat Pharmacy Beatbox Machinery Beats & Pieces bebop Beck Bedouin Soundclash Bedrock Records Beechwood Music Benny Benassi Bent Benz Street US Berlin-School Beto Narme Beyond bhangra Bicep big beat Big Boi Big Dada Recordings Big L Big Life Bill Hamel Bill Laswell Bill Leeb BIlly Idol BineMusic BioMetal Biophon Records Biosphere Bipolar Music BKS Black Hole Recordings black metal black rebel motorcycle club Black Swan Sounds Blanco Y Negro Blasterjaxx Bleep Blend Blood Music Blow Up Blue Amazon Blue Hour Blue Ă–yster Cult blues blues rock Bluescreen Bluetech BMG Boards Of Canada Bob Dylan Bob Marley Bobina Bogdan Raczynzki Bombay Records Bone Thugs-N-Harmony Boney M Bong Load Records Bonobo Bonzai Boogie Down Productions Booka Shade Botchit & Scarper Bows Boxed Boys Noize Boysnoize Records BPitch Control braindance Brandt Brauer Frick Brasil & The Gallowbrothers Band breakbeats breakcore breaks Brian Eno Brian Wilson Brick Records Britpop Brodinski broken beat Brooklyn Music Ltd Bryan Adams BT Bubble Buffalo Springfield Bulk Recordings Burial Burned CDs Bursak Records Bush Busta Rhymes Buttertones bvdub C.I.A. 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