Cryo Chamber: 2020
Not that Cryo Chamber left the sci-fi side of dark ambient on the sidelines – indeed, it was Simon Heath's Sabled Sun project that helped kick the label off – but it wasn't a primary focus for much of its early years. For whatever reason though, this decade saw quite the expansion of exposure for the sub-genre within. Maybe he's just a fan of the YouTube channel DUST, featuring all sorts of sci-fi shorts? I definitely could see some of the Cryo's output soundtracking a few of those vids, heck maybe even inspiring some. That Solundenia from Skrika, for instance. Good God, what nightmare fuel that would create.
Pavlo Storonsky flitted about a few genres in his early days as Tineidae, his first couple albums on Tympanik Audio of Lights and Shadows running through as much synthwave, dubstep and IDM as anything ambient leaning. Not entirely unexpected, those some of the more influential styles of music in the early '10s as he was coming up. For sure there was a dystopian lean to his works, but nothing to suggest he'd take a full turn to the cinematic drone side. Then he took a break for half a decade, re-emerging with Slowly Drown In Static, a total shift to cinematic drone and ambient. Sounds like a 'proof-of-concept' in getting chummy with the Cryo crew, where he's mostly resided since (a plethora of self-released items notwithstanding).
As far as sci-fi concepts go, Exo is surprisingly straight-forward, and doesn't really get into much cosmic horror. Whether as a scout ship or a salvage crew, you've come across a derelict star cruiser, its history a mystery. For sure something terrible happened here, and as you're wandering its empty corridors, you piece together what might have happened – some sort of struggled ensued. Most of of the 'why' and 'how' is inconsequential for your purposes though, more focused on gathering whatever useful materials and data you can before leaving behind the rest of this abandoned mass of metal. There's a cruel irony that whatever the former inhabitants of this vessel endured is rendered down to nothing more than a passing thought.
Still, the music within isn't all doom and gloom, in that there's actual melody that will latch onto your brain, not just atonal mood atmosphere and creepy sound effects. Opener Blacklight Trail could be a film theme in of itself, the rousing string and ominous choir pads doing a wonderful job establishing mood and tone for what your in for. And goodness, featured twinkly arp synths for Patterns In the Sky? How often does Cryo Chamber go that ultra-melodic?
There's still plenty of ominous and menacing sounds on display, but often tempered with subtle musical moments too (synthwave arps in Battle Scars, overbearing synths in Stars So Bright, My Eyes Hurt). Things slowly tapering off to reflective following Reconnection, reaching final track Epilogue on a suitable contemplative note. It's a surprising amount of feelings for a record mostly about salvage work.
Showing posts with label sci-fi. Show all posts
Showing posts with label sci-fi. Show all posts
Sunday, June 16, 2024
Saturday, January 2, 2021
Eximia - Visitors
Cryo Chamber: 2018
Dark ambient covers quite a few topics within its bleak oeuvre, but alien invasion isn't very common. While I'm sure there are examples floating about, I've seldom stumbled upon them. This genre would rather crush your sense of being with dronescapes of a universe utterly devoid of life, an empty realm where conscious beings are more a fluke of incidental chemical reactions than part of a grand design. Where man may scream into the void all he wants, but there's no one to hear him, no one to respond back. Having aliens in your dark ambient, even hostile ones, defeats that concept.
Still, Cryo Chamber has never let a concept go untapped, and they found a worthy contender to explore an alien invasion album in Eximia. Lord Discogs doesn't list much of anything from the project, this here Visitors essentially a debut for Dominik RagancĂk. The Slovakian has been busy elsewhere though, something of a sound designer and engineer for many other forms of media. Last-dot-FM lists previous credits such as car commercials and video games, including the Mass Effect series. Hmm, isn't that the one where an ancient Eldritch horror of a robotic space-faring race called The Reapers goes around exterminating all biological life, a purging of all organics from the cosmos? Sounds right up dark ambient's alley, that one.
So what kind of music is a sound designer inclined to make? None what so ever! There's barely a hint of any melody or even atonal drone throughout this album. Not until near the end of final track World Without End do we hear any sort of instrumentation, and it's discordant strings at that, not exactly the most cheerful of sounds.
Nay, Eximia has taken Cryo Chamber's 'cinematic drone' manifesto to its most extreme end, the bulk of Visitors consisting of sound effects and field recordings. There's little room for interpretation here, though plenty to tickle the imagination should you sit back with your eyes closed. Like, the opening track, Day One. Wide open spaces, shuffling feet in empty buildings, an eerie wind on the distant horizon, when a low, feral growl echoes upon the air, thunder crackling across the sky... Then, an ominous thrum pierces the atmosphere, a sound so strange, so foreign, so alien, it sets off all your primitive warning signals. Descending from on high, unknown and foreboding. What images play out in your mind as this unfolds will likely depend on what sci-fi you've consumed over the years.
So First Contact cranks the creep-out factor before seemingly going tits-up - guess Amy Adams didn't have much luck in this scenario. Abyss goes even further into the murk, sounding like you're stuck in some specimen vat while hearing horrors carry on from beyond. And if mankind's fate wasn't already clear, Extinction features the ghostly wails of a species in its last throes, muted sirens marking the end of everything. Well, it was a good run, while it lasted. So, which of you tripods has the tea?
Dark ambient covers quite a few topics within its bleak oeuvre, but alien invasion isn't very common. While I'm sure there are examples floating about, I've seldom stumbled upon them. This genre would rather crush your sense of being with dronescapes of a universe utterly devoid of life, an empty realm where conscious beings are more a fluke of incidental chemical reactions than part of a grand design. Where man may scream into the void all he wants, but there's no one to hear him, no one to respond back. Having aliens in your dark ambient, even hostile ones, defeats that concept.
Still, Cryo Chamber has never let a concept go untapped, and they found a worthy contender to explore an alien invasion album in Eximia. Lord Discogs doesn't list much of anything from the project, this here Visitors essentially a debut for Dominik RagancĂk. The Slovakian has been busy elsewhere though, something of a sound designer and engineer for many other forms of media. Last-dot-FM lists previous credits such as car commercials and video games, including the Mass Effect series. Hmm, isn't that the one where an ancient Eldritch horror of a robotic space-faring race called The Reapers goes around exterminating all biological life, a purging of all organics from the cosmos? Sounds right up dark ambient's alley, that one.
So what kind of music is a sound designer inclined to make? None what so ever! There's barely a hint of any melody or even atonal drone throughout this album. Not until near the end of final track World Without End do we hear any sort of instrumentation, and it's discordant strings at that, not exactly the most cheerful of sounds.
Nay, Eximia has taken Cryo Chamber's 'cinematic drone' manifesto to its most extreme end, the bulk of Visitors consisting of sound effects and field recordings. There's little room for interpretation here, though plenty to tickle the imagination should you sit back with your eyes closed. Like, the opening track, Day One. Wide open spaces, shuffling feet in empty buildings, an eerie wind on the distant horizon, when a low, feral growl echoes upon the air, thunder crackling across the sky... Then, an ominous thrum pierces the atmosphere, a sound so strange, so foreign, so alien, it sets off all your primitive warning signals. Descending from on high, unknown and foreboding. What images play out in your mind as this unfolds will likely depend on what sci-fi you've consumed over the years.
So First Contact cranks the creep-out factor before seemingly going tits-up - guess Amy Adams didn't have much luck in this scenario. Abyss goes even further into the murk, sounding like you're stuck in some specimen vat while hearing horrors carry on from beyond. And if mankind's fate wasn't already clear, Extinction features the ghostly wails of a species in its last throes, muted sirens marking the end of everything. Well, it was a good run, while it lasted. So, which of you tripods has the tea?
Saturday, August 29, 2020
Distant System - Infinite Continuum
self-release: 2019
It was over a decade in the making, so long that some wondered if there would ever be another album. Then, when all hope seemed lost, the long awaited album suddenly appeared, to much... well, not aplomb. Welcomed by long-suffering fans, for sure, but indifference from everyone else. Perhaps too much time had passed to make such a mark in the here and now. But enough about Tool's Fear Inoculum. I'm here to talk about another long-awaited record that happened to be released about the same time, Distant System's Infinite Continuum!
I generally don't anticipate with bated breath for new music from artists I like. And yet I couldn't let go of hoping and dreaming of Tyler Smith's follow-up to the criminally under-rated Spiral Empire, lingering thoughts of what it would sound like, how it might evolve, or if there was anywhere else he could take it.
Still, for as much as I came to adore the first Distant System album, I cannot deny the concept behind it wasn't the most original: prog-psy and psy-dub with a hard sci-fi aesthetic. As I continued my musical wanderings in search for more like it though, I found precious little life-signs of this style. It seemed Spiral Empire was wholly unique, a precious jewel unlike any other, like an ultra-rare resource that expands consciousness (or something). Such a singularity in this genre only made me appreciate it more, content in the assumption it was to be one-of-a-kind.
But Infinite Continuum did come out, and, for the most part, was everything I expected. In fact, it's almost structurally identical to Spiral Empire, with slower, downbeat tracks in the opening, chuggier prog-psy in the middle, a ramp-up in tempo towards the end, and ambient pieces bringing us out. The hard sci-fi vibe is maintained, plus is blessed by another Ultimae Mixdown™ from Aes Dana. It's safe to say Infinite Continuum is all I'd hoped for, yet I haven't quite gotten into it as much as Spiral Empire for a couple stupid reasons.
One, no CD, so I can't play it on my main stereo, but that's not the real issue. Nay, the main quibble I have is how, unlike Spiral Empire, this album isn't continuously mixed, losing that sense of grand narrative. More so, each track has a lo-o-o-ng lead-in and fade out, to such a point that, unless you have your volume cranked, you may not hear anything for almost half a minute, creating a lagging feeling of nothingness between. Which may be the point, really selling that whole 'universe is big and empty' vibe, but man, even the dark ambient dudes don't go to that extreme.
I do like what I hear though, even if it's taken even longer to properly warm to than Spiral Empire. And as this may be the last we hear from Distant System for a very long time (ever?), Lord knows I'll be cherishing it. Still ain't no one else sounding like this, believe you me.
It was over a decade in the making, so long that some wondered if there would ever be another album. Then, when all hope seemed lost, the long awaited album suddenly appeared, to much... well, not aplomb. Welcomed by long-suffering fans, for sure, but indifference from everyone else. Perhaps too much time had passed to make such a mark in the here and now. But enough about Tool's Fear Inoculum. I'm here to talk about another long-awaited record that happened to be released about the same time, Distant System's Infinite Continuum!
I generally don't anticipate with bated breath for new music from artists I like. And yet I couldn't let go of hoping and dreaming of Tyler Smith's follow-up to the criminally under-rated Spiral Empire, lingering thoughts of what it would sound like, how it might evolve, or if there was anywhere else he could take it.
Still, for as much as I came to adore the first Distant System album, I cannot deny the concept behind it wasn't the most original: prog-psy and psy-dub with a hard sci-fi aesthetic. As I continued my musical wanderings in search for more like it though, I found precious little life-signs of this style. It seemed Spiral Empire was wholly unique, a precious jewel unlike any other, like an ultra-rare resource that expands consciousness (or something). Such a singularity in this genre only made me appreciate it more, content in the assumption it was to be one-of-a-kind.
But Infinite Continuum did come out, and, for the most part, was everything I expected. In fact, it's almost structurally identical to Spiral Empire, with slower, downbeat tracks in the opening, chuggier prog-psy in the middle, a ramp-up in tempo towards the end, and ambient pieces bringing us out. The hard sci-fi vibe is maintained, plus is blessed by another Ultimae Mixdown™ from Aes Dana. It's safe to say Infinite Continuum is all I'd hoped for, yet I haven't quite gotten into it as much as Spiral Empire for a couple stupid reasons.
One, no CD, so I can't play it on my main stereo, but that's not the real issue. Nay, the main quibble I have is how, unlike Spiral Empire, this album isn't continuously mixed, losing that sense of grand narrative. More so, each track has a lo-o-o-ng lead-in and fade out, to such a point that, unless you have your volume cranked, you may not hear anything for almost half a minute, creating a lagging feeling of nothingness between. Which may be the point, really selling that whole 'universe is big and empty' vibe, but man, even the dark ambient dudes don't go to that extreme.
I do like what I hear though, even if it's taken even longer to properly warm to than Spiral Empire. And as this may be the last we hear from Distant System for a very long time (ever?), Lord knows I'll be cherishing it. Still ain't no one else sounding like this, believe you me.
Friday, June 14, 2019
Distant System - Lost Sequence / Pupillary Response
self release: 2009/2010
Everyone's got that hotly anticipated item that seems perpetually postponed. The world of fantasy literature has George R.R. Martin's latest entry in his Game Of Thrones saga. The world of music has Dr. Dre's Detox. The world of music guides has Ishkur's Guide To Electronic Music V3.0. The world of video games has [checks notes]... Star Citizen now. Huh, does that mean folks have finally given up hope on Half-Life 3? Guess it can't be anticipated if it was never officially started in the first place.
Anyhow, while the above undoubtedly have had tonnes of folks hanging on every drip-fed update for years now, the bane of my anticipation remains hopeless obscure. Indeed, if Last.fm stats are anything to go by, it's not even a blip on the spaced-out psy-chill scene, as micro-niche of a scene as they get. Small wonder that Tyler Smith has kept a second Distant System LP in cryostasis for so long if the interest simply isn't there compared to his Androcell project. Dammit though, Spiral Empire remains one of the most captivating examples of this extremely specific sound tickling my limbic system that I've being craving another hit ever since. Others can have their additional songs of fire and ice, I wants my Spiral Empire 2: Revenge Of The Spiral!
While there's been small murmurs and rumblings Mr. Smith may finally dust the project off (again), I figured the best way to keep tabs on developments was to spring for the full Distant System discography on Bandcamp. Yes, I even re-bought Spiral Empire, the only time I'll likely re-buy a CD I already have in a digital format. Meanwhile, that allowed me to finally nab the two compilation-only tracks I'd missed out on way back when, Lost Sequence and Pupillary Response.
Speaking of Lost Sequence, holy cow, what's up with its scrobbling data? The track's outpaced everything else in the Distant System discography by a factor of five, and even has a whole two bars beside it on Spotify. Was the compilation it appeared on, Vampire Sunrise, really that popular? Hm, with a name like that, I wouldn't be surprised. Still, I suspect a shared link on some influencer's blog helped it along.
Anyhow, the track feeds me exactly what I crave in my Distant System fix (directly into my veins!). The epic synth pads painting the cosmic grand, the steady chugging prog-psy rhythm that makes me feel like I'm cruising on an interstellar craft, the touches of sci-fi bleeps and glitch as though I'm receiving sparse transmissions from the depths of the galactic core, all that good stuff. Pupillary Response, initially released on the far-less known Vital Signs compilation (which Tyler himself pieced together) is a more chill affair, almost meeting in the space where Distant System ends and Androcell starts. Not a whole lot happens that I haven't heard in this project before, save a chord change midway that melts my head, heart, and spleen. Sometimes the simplest tricks are the best.
Everyone's got that hotly anticipated item that seems perpetually postponed. The world of fantasy literature has George R.R. Martin's latest entry in his Game Of Thrones saga. The world of music has Dr. Dre's Detox. The world of music guides has Ishkur's Guide To Electronic Music V3.0. The world of video games has [checks notes]... Star Citizen now. Huh, does that mean folks have finally given up hope on Half-Life 3? Guess it can't be anticipated if it was never officially started in the first place.
Anyhow, while the above undoubtedly have had tonnes of folks hanging on every drip-fed update for years now, the bane of my anticipation remains hopeless obscure. Indeed, if Last.fm stats are anything to go by, it's not even a blip on the spaced-out psy-chill scene, as micro-niche of a scene as they get. Small wonder that Tyler Smith has kept a second Distant System LP in cryostasis for so long if the interest simply isn't there compared to his Androcell project. Dammit though, Spiral Empire remains one of the most captivating examples of this extremely specific sound tickling my limbic system that I've being craving another hit ever since. Others can have their additional songs of fire and ice, I wants my Spiral Empire 2: Revenge Of The Spiral!
While there's been small murmurs and rumblings Mr. Smith may finally dust the project off (again), I figured the best way to keep tabs on developments was to spring for the full Distant System discography on Bandcamp. Yes, I even re-bought Spiral Empire, the only time I'll likely re-buy a CD I already have in a digital format. Meanwhile, that allowed me to finally nab the two compilation-only tracks I'd missed out on way back when, Lost Sequence and Pupillary Response.
Speaking of Lost Sequence, holy cow, what's up with its scrobbling data? The track's outpaced everything else in the Distant System discography by a factor of five, and even has a whole two bars beside it on Spotify. Was the compilation it appeared on, Vampire Sunrise, really that popular? Hm, with a name like that, I wouldn't be surprised. Still, I suspect a shared link on some influencer's blog helped it along.
Anyhow, the track feeds me exactly what I crave in my Distant System fix (directly into my veins!). The epic synth pads painting the cosmic grand, the steady chugging prog-psy rhythm that makes me feel like I'm cruising on an interstellar craft, the touches of sci-fi bleeps and glitch as though I'm receiving sparse transmissions from the depths of the galactic core, all that good stuff. Pupillary Response, initially released on the far-less known Vital Signs compilation (which Tyler himself pieced together) is a more chill affair, almost meeting in the space where Distant System ends and Androcell starts. Not a whole lot happens that I haven't heard in this project before, save a chord change midway that melts my head, heart, and spleen. Sometimes the simplest tricks are the best.
Thursday, December 20, 2018
Various - Alien Ambient Galaxy
Hypnotic: 1996
When did I first discover Bill Laswell? This CD right here, which is funny, because it's not indicative of his larger, massive, ginormous body of work. I mean, only one track of the featured eight even has much of his distinct bass playing – it's a super long track, but still, just one. I probably heard him prior, but had no clue he existed, if that makes sense. You can hear some musicians – especially sessions musicians – in a multitude of songs without ever knowing who they are. Sure, one could study liner notes of every booklet and Discogs entry to know every performer ever, but man, who'd want to?
Had little choice with Alien Ambient Galaxy though, the only credits offering nothing but liner notes. Hell, the back cover just lists all the players involved, with no attribution to the list of tracks. For all you'd know, everyone performed together as one big conglomerate. Bill Laswell, Jah Wobble, Jeff Bova, Alex Hass, Pete Namlook, Liu Sola, Buckethead (yes, that Buckethead), Robert Musso, Mick Harris, and Nicky Skopelitis are... Alien Ambient Galaxy!
But no, that's not the case. In fact, only three projects actually make up this compilation, all of which Laswell had some hand in, care of his short-lived Subharmonic print. Most prominently featured is Divination, a world music, ambient drone project that could be considered a proper conglomerate of musicians. There's four tracks of the group here, but they're mostly subtle, droning pieces, serving more as transitional tracks between the other ones. I'll talk about them more at a later date, but again, I must give a flustered name-drop in seeing Buckethead's there.
A few other tracks are from Cypher 7, a duo consisting of Hass and Bova, with Laswell performing “navigation & ground control”. These are more interesting, giving Alien Ambient Galaxy some needed diversity and flair. Conspiracy Of Silence opens the CD with mysterious, ominous tones, feeding into alien paranoia that was so popular in the '90s, while The Suspicious Shamen does an upbeat ambient dub thing with piano flourishes. Nothing Lasts, meanwhile, features a bouncy beat while French actress Jeanne Moreau drunkenly laments about lost passion. Not sure how it ties into an alien ambient concept, but it's a cool sounding tune nonetheless.
And finally, clocking in at over thirty-eight minutes, is one of Bill and Pete's Psychonavigation outings – the lengthy track with the lengthy title of Psychic And UFO Revelations In The Last Days. It features Laswell's bass, Namlook's space pads, a simple dubby rhythm, a lot of dithering passages of music interspersed with sci-fi effects, and strangely hypnotic throughout its runtime. Plus, it contains dialog from the DS9 episode Emissary, so instant awesome right there.
Strange presentation aside, Alien Ambient Galaxy is a nifty little collection of tunes if you like your ambient on the mysterious side of things. Even with the amount of Laswellian music I've since heard, this still remains a remarkably unique offering of what he's made within his vast discography.
When did I first discover Bill Laswell? This CD right here, which is funny, because it's not indicative of his larger, massive, ginormous body of work. I mean, only one track of the featured eight even has much of his distinct bass playing – it's a super long track, but still, just one. I probably heard him prior, but had no clue he existed, if that makes sense. You can hear some musicians – especially sessions musicians – in a multitude of songs without ever knowing who they are. Sure, one could study liner notes of every booklet and Discogs entry to know every performer ever, but man, who'd want to?
Had little choice with Alien Ambient Galaxy though, the only credits offering nothing but liner notes. Hell, the back cover just lists all the players involved, with no attribution to the list of tracks. For all you'd know, everyone performed together as one big conglomerate. Bill Laswell, Jah Wobble, Jeff Bova, Alex Hass, Pete Namlook, Liu Sola, Buckethead (yes, that Buckethead), Robert Musso, Mick Harris, and Nicky Skopelitis are... Alien Ambient Galaxy!
But no, that's not the case. In fact, only three projects actually make up this compilation, all of which Laswell had some hand in, care of his short-lived Subharmonic print. Most prominently featured is Divination, a world music, ambient drone project that could be considered a proper conglomerate of musicians. There's four tracks of the group here, but they're mostly subtle, droning pieces, serving more as transitional tracks between the other ones. I'll talk about them more at a later date, but again, I must give a flustered name-drop in seeing Buckethead's there.
A few other tracks are from Cypher 7, a duo consisting of Hass and Bova, with Laswell performing “navigation & ground control”. These are more interesting, giving Alien Ambient Galaxy some needed diversity and flair. Conspiracy Of Silence opens the CD with mysterious, ominous tones, feeding into alien paranoia that was so popular in the '90s, while The Suspicious Shamen does an upbeat ambient dub thing with piano flourishes. Nothing Lasts, meanwhile, features a bouncy beat while French actress Jeanne Moreau drunkenly laments about lost passion. Not sure how it ties into an alien ambient concept, but it's a cool sounding tune nonetheless.
And finally, clocking in at over thirty-eight minutes, is one of Bill and Pete's Psychonavigation outings – the lengthy track with the lengthy title of Psychic And UFO Revelations In The Last Days. It features Laswell's bass, Namlook's space pads, a simple dubby rhythm, a lot of dithering passages of music interspersed with sci-fi effects, and strangely hypnotic throughout its runtime. Plus, it contains dialog from the DS9 episode Emissary, so instant awesome right there.
Strange presentation aside, Alien Ambient Galaxy is a nifty little collection of tunes if you like your ambient on the mysterious side of things. Even with the amount of Laswellian music I've since heard, this still remains a remarkably unique offering of what he's made within his vast discography.
Sunday, September 16, 2018
Dr. Octagon - Moosebumps: An Exploration Into Modern Day Horripilation
Bulk Recordings: 2018
And I thought the wait for a Deltron 3030 sequel took forever. Right, Dr. Octagon has popped up here and there throughout Kool Keith's career, but what folks truly clamoured for was Dan The Automator getting back in the studio with him, rekindling the same twisted synergy that made Dr. Octagonecologyst the cult classic it remains to this day. The concept is just so strange, that all the weirdo conceptual rappers ever since haven't quite matched the bizarro sci-fi horrorcore porn world that Dr. Octagon inhabits. And those who do almost inevitably sound like they're trying too hard to be shocking and twisted for its own sake, never finding the effortless cool that Kool Keith brings to the project.
Somehow though, the stars, planets, stethoscopes and Venus mounds all aligned once more to bring Keith and Dan back together for the follow-up album every was hoping to hear... oh, around twenty years ago, if we're being honest. Yeah, fans of Dr. Octagon are happy they've gotten anything at this point, but they'd also long made their peace that odds were slim it would happen at all. Keith had moved onto plenty other things, Dan had moved onto plenty other things (with some unexpected commercial success along the way), and even DJ Q-Bert was having a successful solo career, with little need to be The DJ in an antiquated notion of what constitutes a 'rap group' these days. Heck, all you need is a bunch of mumbling autotune and some bare-bones 808 drum synths for a hit these days. Who's got time for cryptic lewd lyrics about... y'know, I couldn't explain what Dr. Octagon's going on about even if I tried.
What I can tell you, however, is this new album of Moosebumps: An Exploration Into Modern Day Horripilation, is just about everything I could have hoped for in a proper follow-up of the project. I've never met an Automator beat I didn't like, and though Dan could have gone overboard on production as he did in the Deltron sequel, he keeps things mostly on that classic boom-bap simplicity, throwing in mint break samples, orchestral swells, twitchy violin touches (one of the first album's defining characteristics), aggressive guitar licks (care of Gary Holt), and quirky sci-fi clips as needed. Though filled with vividly weird imagery and off-kilter wordplay, Keith doesn't have quite the same level of instantly memorable “WTF?” lines in this outing. Still, he rides Dan's beats with trademark effortless cool, making you wonder why the Hell they didn't reconvene sooner. Meanwhile, Q-Bert does his usual scratch trickery, and even gets another extended solo showcase in Bear Witness IV.
You know what I always hoped to hear though? A back-and-forth between Automator's two famed cult classic projects, Dr. Octagon and Deltron 3030. And holy shit, we get it in 3030 Meets The Doc, Keith and Del delivering all that I could have wished for! And wait... is that...? Is that!? Oh my, a scratch battle between Q-Bert and Kid Koala! Nnnnggyyaaaahhh!!!
And I thought the wait for a Deltron 3030 sequel took forever. Right, Dr. Octagon has popped up here and there throughout Kool Keith's career, but what folks truly clamoured for was Dan The Automator getting back in the studio with him, rekindling the same twisted synergy that made Dr. Octagonecologyst the cult classic it remains to this day. The concept is just so strange, that all the weirdo conceptual rappers ever since haven't quite matched the bizarro sci-fi horrorcore porn world that Dr. Octagon inhabits. And those who do almost inevitably sound like they're trying too hard to be shocking and twisted for its own sake, never finding the effortless cool that Kool Keith brings to the project.
Somehow though, the stars, planets, stethoscopes and Venus mounds all aligned once more to bring Keith and Dan back together for the follow-up album every was hoping to hear... oh, around twenty years ago, if we're being honest. Yeah, fans of Dr. Octagon are happy they've gotten anything at this point, but they'd also long made their peace that odds were slim it would happen at all. Keith had moved onto plenty other things, Dan had moved onto plenty other things (with some unexpected commercial success along the way), and even DJ Q-Bert was having a successful solo career, with little need to be The DJ in an antiquated notion of what constitutes a 'rap group' these days. Heck, all you need is a bunch of mumbling autotune and some bare-bones 808 drum synths for a hit these days. Who's got time for cryptic lewd lyrics about... y'know, I couldn't explain what Dr. Octagon's going on about even if I tried.
What I can tell you, however, is this new album of Moosebumps: An Exploration Into Modern Day Horripilation, is just about everything I could have hoped for in a proper follow-up of the project. I've never met an Automator beat I didn't like, and though Dan could have gone overboard on production as he did in the Deltron sequel, he keeps things mostly on that classic boom-bap simplicity, throwing in mint break samples, orchestral swells, twitchy violin touches (one of the first album's defining characteristics), aggressive guitar licks (care of Gary Holt), and quirky sci-fi clips as needed. Though filled with vividly weird imagery and off-kilter wordplay, Keith doesn't have quite the same level of instantly memorable “WTF?” lines in this outing. Still, he rides Dan's beats with trademark effortless cool, making you wonder why the Hell they didn't reconvene sooner. Meanwhile, Q-Bert does his usual scratch trickery, and even gets another extended solo showcase in Bear Witness IV.
You know what I always hoped to hear though? A back-and-forth between Automator's two famed cult classic projects, Dr. Octagon and Deltron 3030. And holy shit, we get it in 3030 Meets The Doc, Keith and Del delivering all that I could have wished for! And wait... is that...? Is that!? Oh my, a scratch battle between Q-Bert and Kid Koala! Nnnnggyyaaaahhh!!!
Monday, April 24, 2017
S.E.T.I. - The Guide Lockstars Of Astro Myrmex
...txt: 2016
Now doesn’t this look all ultra egg-headed in concept and design. Guide Lockstars? Astro Myrmex?? S.E.T.I.??? Right, that last one’s been a staple of electronic music for ages, musicians inspired by deep space frequencies traversing the endless void in meager hopes of finding kindred intelligence. Or something better, far superior to our primitive means, that’d be pretty dope too, but we’ll take whatever the cosmos sends our way. Beggers can’t be choosers.
Honestly, I picked this up because, hey, new S.E.T.I. – gotta’ check that out, yo’! Never mind I initially wasn’t sure which S.E.T.I. I was dealing with. Like, it seemed odd that the dark, abstract ambient project of Andrew Lagowski would end up on …txt, especially since his last few releases came out on industrial-leaning print Power & Steel. That other Seti project then, that consisted of Savvas Ysatis and Taylor Deupree, they’re more up the alley of Lee Norris’ label. Then again, they haven’t been heard from since the ‘90s, so odds of this being the same group were remote. Could it be a whole new S.E.T.I.? Lord Discogs surprisingly lists few acts with such aliases, so a young cheeky producer could take it on too.
But nay, turns out it was Mr. Lagowski all along, finding a home with …txt as he takes his project into the realms of narrative concept. The Guide Lockstars of Astro Myrmex is the second of what appears to be an ongoing tale of sorts, started with The Data Logs Of Astro Myrmex, released the year prior. Little information is given on what ‘Astro Myrmex’ is, beyond something that’s travelling the cosmos. A ship captain? Interstellar cruiser? Robotic probe? Evolved light being? Something definitely advanced compared to our current technology, what with Data Logs’ liner notes mentioning ol’ Astro exploring wormholes. Lockstars offers a morsel of additional information, explaining that Myrmex’s journey was initiated by the Nibiru Cataclysm. Ah, that event, as predicted by the cover art of Public Enemy’s Fear Of A Black Planet.
The music within, such as it is, does offer the sort of space ambient you’d expect of such a hard sci-fi story. Opener Instrument Calibration spends a chunk of its early portion with distant transistor pings and other sounds you’d figure robots communicating with radio antennae would emit, accompanied by low thrums that all dark space ambient must include. This isn’t a dark piece though, spacey pads joining the effects, nicely selling a cosmic grandeur vibe.
Guide Lockstars generally alternates in tone throughout, with S.E.T.I. exploring different forms of sci-fi sounds and abstract music. Mirach, LoS Jitter Summary, Adhil, and especially Black Engines are quite dark and droning, giving me pause whether I’d accidentally thrown on a Cryo Chamber CD instead. The longer tracks of Gravity Stupor and Almach are more bleepy and benign, though still feeling isolated between the stars. Still, it’s nice hearing a hard sci-fi, space ambient album that includes both ends of the vibe spectrum. (not as famous as the electromagnetic spectrum)
Now doesn’t this look all ultra egg-headed in concept and design. Guide Lockstars? Astro Myrmex?? S.E.T.I.??? Right, that last one’s been a staple of electronic music for ages, musicians inspired by deep space frequencies traversing the endless void in meager hopes of finding kindred intelligence. Or something better, far superior to our primitive means, that’d be pretty dope too, but we’ll take whatever the cosmos sends our way. Beggers can’t be choosers.
Honestly, I picked this up because, hey, new S.E.T.I. – gotta’ check that out, yo’! Never mind I initially wasn’t sure which S.E.T.I. I was dealing with. Like, it seemed odd that the dark, abstract ambient project of Andrew Lagowski would end up on …txt, especially since his last few releases came out on industrial-leaning print Power & Steel. That other Seti project then, that consisted of Savvas Ysatis and Taylor Deupree, they’re more up the alley of Lee Norris’ label. Then again, they haven’t been heard from since the ‘90s, so odds of this being the same group were remote. Could it be a whole new S.E.T.I.? Lord Discogs surprisingly lists few acts with such aliases, so a young cheeky producer could take it on too.
But nay, turns out it was Mr. Lagowski all along, finding a home with …txt as he takes his project into the realms of narrative concept. The Guide Lockstars of Astro Myrmex is the second of what appears to be an ongoing tale of sorts, started with The Data Logs Of Astro Myrmex, released the year prior. Little information is given on what ‘Astro Myrmex’ is, beyond something that’s travelling the cosmos. A ship captain? Interstellar cruiser? Robotic probe? Evolved light being? Something definitely advanced compared to our current technology, what with Data Logs’ liner notes mentioning ol’ Astro exploring wormholes. Lockstars offers a morsel of additional information, explaining that Myrmex’s journey was initiated by the Nibiru Cataclysm. Ah, that event, as predicted by the cover art of Public Enemy’s Fear Of A Black Planet.
The music within, such as it is, does offer the sort of space ambient you’d expect of such a hard sci-fi story. Opener Instrument Calibration spends a chunk of its early portion with distant transistor pings and other sounds you’d figure robots communicating with radio antennae would emit, accompanied by low thrums that all dark space ambient must include. This isn’t a dark piece though, spacey pads joining the effects, nicely selling a cosmic grandeur vibe.
Guide Lockstars generally alternates in tone throughout, with S.E.T.I. exploring different forms of sci-fi sounds and abstract music. Mirach, LoS Jitter Summary, Adhil, and especially Black Engines are quite dark and droning, giving me pause whether I’d accidentally thrown on a Cryo Chamber CD instead. The longer tracks of Gravity Stupor and Almach are more bleepy and benign, though still feeling isolated between the stars. Still, it’s nice hearing a hard sci-fi, space ambient album that includes both ends of the vibe spectrum. (not as famous as the electromagnetic spectrum)
Saturday, November 5, 2016
Randal Collier-Ford, Flowers For Bodysnatchers, Council Of Nine, God Body Disconnect - Locus Arcadia
Cryo Chamber: 2016
Scaling back from the super-mega-ultra concept of ‘ALL The Roster Work On Singular Label Project’, we have ‘A Few Guys On Label Work On Concept Album’. Not under a group pseudonym though, nor with any specific collaboration between each artist beyond working around the theme as laid out by Bruce Moallem (God Body Disconnect). Cryo Chamber's done something similar as this before, an album called Tomb Of Empires, and I can’t help but continuously marvel at how much creative freedom Simon Heath offers all these morbid musicians from across the globe. Still, despite each contributor providing a single (long) track to Locus Arcadia, this is more than a compilation. Applying the trusty ol’ ‘dark ambient as storytelling’ analogy, each piece is rather like a short story set within a specific setting, though whether we’re dealing with the same protagonist throughout, I’m not sure.
Locus Arcadia is the brain-child of Bruce Moallem, whose backstory I’ve detailed in the God Body Disconnect album Dredge Portals. Along for the ride is Council Of Nine, one Maximillion Olivier, whom I’ve also detailed to some degree with his two albums Dakhma and Diagnosis. Flowers For Bodysnatchers joins the haunted sci-fi party, though I didn’t get as heavy into Duncan Ritchie’s history while writing up his Aokigahara album (the forest history ate most of my word count). And finally there’s Randal Collier-Ford, who’s making his debut with this blog! Well, technically he did on the Cryo Chamber Collaboration of Azathoth, but who could tell where his portions of that jumbo project began and ended. Ah, maybe if I’d taken in some of his prior work, I’d figure out what his particular dark ambient attributes are. For now, all I’ve got to go with is the opening piece on Locus Arcadia.
Into The Maw Where All Men Die certainly is an auspicious title to kick off a dark sci-fi outing, and the music within is suitably apt. Menacing drone, mechanical breathing, claustrophobic mood, with a touch of wonderment at the end as you take in the grandeur of whatever deserted, orbiting super-structure you’re wandering about. Flowers For Bodysnatchers opts more for a pure ‘haunted house’ vibe with his piece, Black Echo Of Morgues And Memory: lots of distant clanking across empty halls, creepy sounds clawing at metal chambers nearby, all leading to an unleashed cacophonic fury of whatever horror lurks erupting on your senses. Mr. Ritichie’s use of natural instruments definitely plays a crucial role in his piece. Council Of Nine, meanwhile, brings things down to a steady ambient drone, Pale Sister Of Sanctuary Lost an almost calm and soothing respite from FfB’s intense outing. He still maintains the desolate space drone that permeates Locus Arcadia though, for God Body Disconnect must take us out in an incredibly cinematic piece. Using a Death Star-tonne of sci-fi sound effects, Prisoner’s Sacrifice Facing Arcadia could be a mini-movie in its own right, complete with soaring score and gentle piano denouement at the end. How Spielbergian of Maollem.
Scaling back from the super-mega-ultra concept of ‘ALL The Roster Work On Singular Label Project’, we have ‘A Few Guys On Label Work On Concept Album’. Not under a group pseudonym though, nor with any specific collaboration between each artist beyond working around the theme as laid out by Bruce Moallem (God Body Disconnect). Cryo Chamber's done something similar as this before, an album called Tomb Of Empires, and I can’t help but continuously marvel at how much creative freedom Simon Heath offers all these morbid musicians from across the globe. Still, despite each contributor providing a single (long) track to Locus Arcadia, this is more than a compilation. Applying the trusty ol’ ‘dark ambient as storytelling’ analogy, each piece is rather like a short story set within a specific setting, though whether we’re dealing with the same protagonist throughout, I’m not sure.
Locus Arcadia is the brain-child of Bruce Moallem, whose backstory I’ve detailed in the God Body Disconnect album Dredge Portals. Along for the ride is Council Of Nine, one Maximillion Olivier, whom I’ve also detailed to some degree with his two albums Dakhma and Diagnosis. Flowers For Bodysnatchers joins the haunted sci-fi party, though I didn’t get as heavy into Duncan Ritchie’s history while writing up his Aokigahara album (the forest history ate most of my word count). And finally there’s Randal Collier-Ford, who’s making his debut with this blog! Well, technically he did on the Cryo Chamber Collaboration of Azathoth, but who could tell where his portions of that jumbo project began and ended. Ah, maybe if I’d taken in some of his prior work, I’d figure out what his particular dark ambient attributes are. For now, all I’ve got to go with is the opening piece on Locus Arcadia.
Into The Maw Where All Men Die certainly is an auspicious title to kick off a dark sci-fi outing, and the music within is suitably apt. Menacing drone, mechanical breathing, claustrophobic mood, with a touch of wonderment at the end as you take in the grandeur of whatever deserted, orbiting super-structure you’re wandering about. Flowers For Bodysnatchers opts more for a pure ‘haunted house’ vibe with his piece, Black Echo Of Morgues And Memory: lots of distant clanking across empty halls, creepy sounds clawing at metal chambers nearby, all leading to an unleashed cacophonic fury of whatever horror lurks erupting on your senses. Mr. Ritichie’s use of natural instruments definitely plays a crucial role in his piece. Council Of Nine, meanwhile, brings things down to a steady ambient drone, Pale Sister Of Sanctuary Lost an almost calm and soothing respite from FfB’s intense outing. He still maintains the desolate space drone that permeates Locus Arcadia though, for God Body Disconnect must take us out in an incredibly cinematic piece. Using a Death Star-tonne of sci-fi sound effects, Prisoner’s Sacrifice Facing Arcadia could be a mini-movie in its own right, complete with soaring score and gentle piano denouement at the end. How Spielbergian of Maollem.
Wednesday, June 15, 2016
Sabled Sun - Signals IV-V-VI
Cryo Chamber: 2015
Now wait just a darn minute! Didn’t I miss my chance on this triple-disc collection, that when I stopped over at the label’s Bandcamp, the site claimed they were sold out? Indeed they had, and I rested easy in accepting that star-cruiser having sailed, missing on owning another chapter in the Sabled Sun saga. It’s not like I couldn’t hear any of these hour-long drone pieces through a streaming service. And besides, the Signals pieces aren’t even part of the main narrative Simon Heath’s crafted with the project; rather like side-stories, or appendices, or bonus features, or- no, wait, all this cinematic dark ambient isn’t literal cinema on DVD.
In a move I hadn’t counted on, Cryo Chamber replenish their stock, including another round of Signals IV-V-VI. This shouldn’t come as that big a deal, but considering so many online prints have very limited runs of their physical releases, you’d forgive me for thinking this label would be the same. It actually stuns me that dub techno labels are so comparatively skint, what with how much critical love they receive from all the Very Important electronic music rags. I always figured dark ambient a super-niche scene, but I suppose there’s some crossover from the underground metal ranks, and that’s anything but small, believe you me.
From the outset its clear Mr. Heath was aiming for a different take in this second trilogy of Signals. The first three were quite distinct from one another, but the stark, dead-in-space artwork helped maintain a linking connection within the concept. This next bundle offers something sunnier; in fact about a billion times so. Are we dealing with the same planet, because that’s an astounding number of stars featured in the cover art compared to the previous set of Signals. Looks like we’re hovering somewhere near a globular cluster rather than some outflung back-spur of the galaxy. I wonder if this is a region those signals from the first three were directed. Was that even the impression I was meant to get from those hour-long compositions? Drone can be so very vague at times. Right, most times.
On the surface, there isn’t much difference between Signals IV, V, and VI. All three feature similar atonal space drone dominating nearly every audible wavelength you can imagine, but in a way that’s not crushing on your senses. Signals IV has a fuzzy run of static throughout, eventually joined by intermittent chirping frequencies piercing the empty void. Signals V has more of a journey going for it, the droning tones occasionally receding as though the cosmos is inhaling before carrying on its never-ending symphony of non-sound. It even changes in timbre during its course, and if you listen carefully enough, one can hear the distinct whine of radio transmissions desperately trying to be heard. Signals VI is just unrelenting suffocating drone for its full hour, barely a change in- wait, what was that signal at the tail end? No, wait, come back! Oh dear, we’ve lost it…
Now wait just a darn minute! Didn’t I miss my chance on this triple-disc collection, that when I stopped over at the label’s Bandcamp, the site claimed they were sold out? Indeed they had, and I rested easy in accepting that star-cruiser having sailed, missing on owning another chapter in the Sabled Sun saga. It’s not like I couldn’t hear any of these hour-long drone pieces through a streaming service. And besides, the Signals pieces aren’t even part of the main narrative Simon Heath’s crafted with the project; rather like side-stories, or appendices, or bonus features, or- no, wait, all this cinematic dark ambient isn’t literal cinema on DVD.
In a move I hadn’t counted on, Cryo Chamber replenish their stock, including another round of Signals IV-V-VI. This shouldn’t come as that big a deal, but considering so many online prints have very limited runs of their physical releases, you’d forgive me for thinking this label would be the same. It actually stuns me that dub techno labels are so comparatively skint, what with how much critical love they receive from all the Very Important electronic music rags. I always figured dark ambient a super-niche scene, but I suppose there’s some crossover from the underground metal ranks, and that’s anything but small, believe you me.
From the outset its clear Mr. Heath was aiming for a different take in this second trilogy of Signals. The first three were quite distinct from one another, but the stark, dead-in-space artwork helped maintain a linking connection within the concept. This next bundle offers something sunnier; in fact about a billion times so. Are we dealing with the same planet, because that’s an astounding number of stars featured in the cover art compared to the previous set of Signals. Looks like we’re hovering somewhere near a globular cluster rather than some outflung back-spur of the galaxy. I wonder if this is a region those signals from the first three were directed. Was that even the impression I was meant to get from those hour-long compositions? Drone can be so very vague at times. Right, most times.
On the surface, there isn’t much difference between Signals IV, V, and VI. All three feature similar atonal space drone dominating nearly every audible wavelength you can imagine, but in a way that’s not crushing on your senses. Signals IV has a fuzzy run of static throughout, eventually joined by intermittent chirping frequencies piercing the empty void. Signals V has more of a journey going for it, the droning tones occasionally receding as though the cosmos is inhaling before carrying on its never-ending symphony of non-sound. It even changes in timbre during its course, and if you listen carefully enough, one can hear the distinct whine of radio transmissions desperately trying to be heard. Signals VI is just unrelenting suffocating drone for its full hour, barely a change in- wait, what was that signal at the tail end? No, wait, come back! Oh dear, we’ve lost it…
Labels:
2015,
album,
Cryo Chamber,
drone,
Sabled Sun,
sci-fi,
Simon Heath
Thursday, May 12, 2016
Ugasanie - Eye Of Tunguska
Cryo Chamber: 2015
Is there any landmass more inhospitable and devoid of humanity than the Siberian plateau? Right, Antarctica, but the polar continent has an allure, a challenge for the human spirit; a realm where you can see unique fauna and frozen wastes unlike anywhere else on the planet. What does Siberia have? Dense woods, peat bogs, brutal winters, and more bugs than all the grains of sand in the world, the region a nearly impenetrable fortress of human misery. A perfect place for sending your criminals and prisoners, but horrible for the tourist industry.
There’s one area, however, that’s captured the imagination of astronomers, speculators, theorists, and artists, known for an event that was as catastrophic as it was mysterious. All the early expeditions were able to find at ground zero were thousands upon thousands of blasted, dead trees, some still standing but charred to a cinder. With no signs of a crater, science guessed it was caused by an exploding chunk of space rock or ice, one that detonated before it even impacted upon the ground. But surely something that explosive would have left an impact mark, the world thought. Given that the Tunguska region was remote even by Siberian standards though, very few expeditions followed-up on the event.
As such, the Tunguska Event entered contemporary speculative fiction lore, a sci-fi trope probably only outrivaled by Roswell. Many an author, comic, TV show, and video game dealing with aliens references it, a tantalizing region to hang a conspiracy theory on. What better, isolated area for governments and E.T.s to convene than this, plotting world control and humanity misery? Right, Antarctica again.
Some musicians have also namedropped Tunguska, including Tomita, Alan Parsons, Cymbals Eat Guitars, and a few metal bands too. This here Ugasanie, whose brand of dark ambient typically focuses on the furthest regions of European hinterlands, would naturally have his say in Siberian folklore. Rather than rehashing the same ol’ event though, Eye Of Tunguska instead recounts a smaller, intimate occurrence, involving a group of hiking students eager to see the epicenter. Losing their way as you do in the middle of literal nowhere, they were never heard from again, their bodies eventually recovered at a nearby abandoned geological station, mutilated and covered with radiation burns. Wait, is this fiction, or did this really happen? If so, day-um…
The album’s essentially a dark ambient score to the story, each track another chapter (The Taiga, Lonely Winter Hut, The Phenomenon, Last Night, Attempt To Contact, The Bodies Under The Snow, and so on). Sounds mostly consist of eerie tones, desolate drone, and sparse field recordings, all with a sci-fi undercurrent of nervous curiosity and tense exploration. Even with a concrete plot as a backbone, Ugasanie leaves his tracks plenty open to interpretation in what’s unfolding, making Eye Of Tunguska the sort of CD that demands one’s full attention for the best results. If you’re willing to take this trip to Tunguska, anyway. Antarctica don’t look so bad now.
Is there any landmass more inhospitable and devoid of humanity than the Siberian plateau? Right, Antarctica, but the polar continent has an allure, a challenge for the human spirit; a realm where you can see unique fauna and frozen wastes unlike anywhere else on the planet. What does Siberia have? Dense woods, peat bogs, brutal winters, and more bugs than all the grains of sand in the world, the region a nearly impenetrable fortress of human misery. A perfect place for sending your criminals and prisoners, but horrible for the tourist industry.
There’s one area, however, that’s captured the imagination of astronomers, speculators, theorists, and artists, known for an event that was as catastrophic as it was mysterious. All the early expeditions were able to find at ground zero were thousands upon thousands of blasted, dead trees, some still standing but charred to a cinder. With no signs of a crater, science guessed it was caused by an exploding chunk of space rock or ice, one that detonated before it even impacted upon the ground. But surely something that explosive would have left an impact mark, the world thought. Given that the Tunguska region was remote even by Siberian standards though, very few expeditions followed-up on the event.
As such, the Tunguska Event entered contemporary speculative fiction lore, a sci-fi trope probably only outrivaled by Roswell. Many an author, comic, TV show, and video game dealing with aliens references it, a tantalizing region to hang a conspiracy theory on. What better, isolated area for governments and E.T.s to convene than this, plotting world control and humanity misery? Right, Antarctica again.
Some musicians have also namedropped Tunguska, including Tomita, Alan Parsons, Cymbals Eat Guitars, and a few metal bands too. This here Ugasanie, whose brand of dark ambient typically focuses on the furthest regions of European hinterlands, would naturally have his say in Siberian folklore. Rather than rehashing the same ol’ event though, Eye Of Tunguska instead recounts a smaller, intimate occurrence, involving a group of hiking students eager to see the epicenter. Losing their way as you do in the middle of literal nowhere, they were never heard from again, their bodies eventually recovered at a nearby abandoned geological station, mutilated and covered with radiation burns. Wait, is this fiction, or did this really happen? If so, day-um…
The album’s essentially a dark ambient score to the story, each track another chapter (The Taiga, Lonely Winter Hut, The Phenomenon, Last Night, Attempt To Contact, The Bodies Under The Snow, and so on). Sounds mostly consist of eerie tones, desolate drone, and sparse field recordings, all with a sci-fi undercurrent of nervous curiosity and tense exploration. Even with a concrete plot as a backbone, Ugasanie leaves his tracks plenty open to interpretation in what’s unfolding, making Eye Of Tunguska the sort of CD that demands one’s full attention for the best results. If you’re willing to take this trip to Tunguska, anyway. Antarctica don’t look so bad now.
Labels:
2015,
album,
Cryo Chamber,
dark ambient,
drone,
sci-fi,
Ugasanie
Thursday, January 7, 2016
Eat Static - Dead Planet
Mesmobeat: 2015
I was wondering if Eat Static would ever release another album, then ol' Merv goes and gives us a double-album. No wonder he took so long then, and a good idea too. His last foray into the LP domain saw two CDs released as well, though on separate labels focusing on completely different styles. It was a neat idea to feature an exclusively downtempo album for Interchill, but it’d probably be a hard-sell twice. Folks come to Eat Static for the tear-out psy with the crazy cybernetic leads and pulpy sci-fi samples; the few mellow moments under the stoner sun are best served as respites.
Well nothing doing for Dead Planet, once again splitting the Eat Static stylee up between two discs, uptempo stuff on the titular CD, and a chill offering in the second tray titled Human Upgrade. Interestingly, this has been released on Mesmobeat, the label Eat Static set-up for themselves after Planet Dog died, and been in semi-limbo for the past half-decade. What, did no one else want to give this double-LP a chance?
Dead Planet kicks off with another System 7 pairing, tickling all those old-school goa trance triggers in my head. It pretty much goes for the twisted full-on stuff from there though (with one obligatory mint d’n’b leaning cut with Ringlefinch), tracks evolving in dark-psy fashion before unleashing a spacey bit for the climax. It’s all well-produced, but as with so much modern psy-trance, hasn’t evolved much in the past decade, and the same is true for Eat Static’s take on the sound, sci-fi quirks aside. And yet, it’s better than Merv’s dip into other music here. Dragon’s Breath is a frightfully dull tech-plodder, while In All Worlds with Robert Smith is a fine track on a cyberpunk soundtrack, but way out of place here. And Odious Odium sounds like it’s building up to a hideously obnoxious brostep drop (clap builds! glitch-bends!), then does an awesome one-eighty into spaced-out tear-out psy (that low-end!). That’s the Eat Static I love!
Human Upgrade meanwhile... holy cow, where did this album come from? As the chiller side of Eat Static, I was expecting some psy-dub rubs, or maybe a throwback cut that might have appeared on the old Planet Dog compilations. And the first few tracks do offer this, even getting Robbert Heynen of the former Psychick Warriors Ov Gaia in with Near Future Myth (dear Lord, such expansive sonics!). The back-end of CD2 then grows more ethnic, orchestrated, and wordly with the beats. There were hints of this sound on Back To Earth, but ol’ Merv’s taken things to another level here, sounding like latter-era Juno Reactor in some parts. I know I said hearing Eat Static without the quirkiness feels off, but if lush production like this is what we can also expect, I’m all for it.
Dead Planet as a whole is quite a bit to take in, but is well worth the investment for followers of the alien nation.
I was wondering if Eat Static would ever release another album, then ol' Merv goes and gives us a double-album. No wonder he took so long then, and a good idea too. His last foray into the LP domain saw two CDs released as well, though on separate labels focusing on completely different styles. It was a neat idea to feature an exclusively downtempo album for Interchill, but it’d probably be a hard-sell twice. Folks come to Eat Static for the tear-out psy with the crazy cybernetic leads and pulpy sci-fi samples; the few mellow moments under the stoner sun are best served as respites.
Well nothing doing for Dead Planet, once again splitting the Eat Static stylee up between two discs, uptempo stuff on the titular CD, and a chill offering in the second tray titled Human Upgrade. Interestingly, this has been released on Mesmobeat, the label Eat Static set-up for themselves after Planet Dog died, and been in semi-limbo for the past half-decade. What, did no one else want to give this double-LP a chance?
Dead Planet kicks off with another System 7 pairing, tickling all those old-school goa trance triggers in my head. It pretty much goes for the twisted full-on stuff from there though (with one obligatory mint d’n’b leaning cut with Ringlefinch), tracks evolving in dark-psy fashion before unleashing a spacey bit for the climax. It’s all well-produced, but as with so much modern psy-trance, hasn’t evolved much in the past decade, and the same is true for Eat Static’s take on the sound, sci-fi quirks aside. And yet, it’s better than Merv’s dip into other music here. Dragon’s Breath is a frightfully dull tech-plodder, while In All Worlds with Robert Smith is a fine track on a cyberpunk soundtrack, but way out of place here. And Odious Odium sounds like it’s building up to a hideously obnoxious brostep drop (clap builds! glitch-bends!), then does an awesome one-eighty into spaced-out tear-out psy (that low-end!). That’s the Eat Static I love!
Human Upgrade meanwhile... holy cow, where did this album come from? As the chiller side of Eat Static, I was expecting some psy-dub rubs, or maybe a throwback cut that might have appeared on the old Planet Dog compilations. And the first few tracks do offer this, even getting Robbert Heynen of the former Psychick Warriors Ov Gaia in with Near Future Myth (dear Lord, such expansive sonics!). The back-end of CD2 then grows more ethnic, orchestrated, and wordly with the beats. There were hints of this sound on Back To Earth, but ol’ Merv’s taken things to another level here, sounding like latter-era Juno Reactor in some parts. I know I said hearing Eat Static without the quirkiness feels off, but if lush production like this is what we can also expect, I’m all for it.
Dead Planet as a whole is quite a bit to take in, but is well worth the investment for followers of the alien nation.
Labels:
2015,
album,
downtempo,
Eat Static,
full-on,
goa trance,
Mesmobeat,
psy dub,
psy trance,
sci-fi,
world beat
Saturday, November 21, 2015
Institute Of Frequency & Optical Research - Subspace Messages (2015 Update)
Jump Cut: 1994
(Click here to read some ramblings about bad mastering.)
I swear there are mind controlling subspace messages out there. They're sending their signals to my subconscious, you see, insidiously forcing me to continuously talk about this hopelessly obscure album of rough acid techno from the mid-'90s.
It all started so innocently, wandering into that used music outlet looking for a few cool, unique scores I wouldn't find in the regular stores. Little did I know those subspace messages were already penetrating my neural pathways, guiding the tiny extraocular muscles within my eye socket towards that lonesome looking white cover with the DNA strand plunk in the middle. Readings of my memory membranes had alerted these shadowy individuals of my fondness for nerdy-named electronic music, knowing I couldn’t resist buying this album with barely a sound check involved. Somehow the masterminds behind these quantum level wavelengths had the foresight I’d end up contributing my thoughts of music to the internet, thus maintaining the Institute Of Frequency & Optical Research’s legacy long after their name had been left to the mists of techno history. They waited patiently, letting the CD sit within my towers for an opportune moment when their music would be brought to light once more.
They chose their target well, realizing my insatiable need to prove that Chaos Theory rules supreme would incite me to introduce the Random Review concept at TranceCritic. That, despite a large collection of music, even the most hopelessly forgotten and abandoned works could be resurrected within the public’s ears if only by mere chance. Sensing their time finally at hand, I was sent the subspace messages intended for motor control of my arm and hand. Despite closing my eyes, doing a quick spin, and running my fingertips up and down the tower, I was manipulated enough that my second Random Review choice ended up being this album. The masterplan unfolds, where, despite the general lambasting and shoddy penmanship displayed in that TranceCritic review, a few dozen more folks in this world came to know of the Institute Of Frequency & Optical Research. Er, yeah, that was one of the doggiest reviews on TranceCritic in terms of views. Guess you just can’t beat reader apathy.
How such a CD sourced from the UK ended up in the backstands of a Surrey pawn shop remains a mystery. Perhaps a former hapless victim of these Subspace Messages overcame his mind control, fleeing as far West as he could go, hoping to toss it into the Pacific Ocean where a giant octopus might mangle it for good. He couldn’t commit though, the subspace messages overriding such desire. He could at least get some money from it though.
At least I know I’m not alone in my mental manipulations, Lord Discogs telling me nine others have suffered this fate. Honestly, it was the fact this was even in the database’s early archives that convinced me it was a website worth keeping tabs on, plus help contribute with my own rare gatherings. Yay for small achievements!
(Click here to read some ramblings about bad mastering.)
I swear there are mind controlling subspace messages out there. They're sending their signals to my subconscious, you see, insidiously forcing me to continuously talk about this hopelessly obscure album of rough acid techno from the mid-'90s.
It all started so innocently, wandering into that used music outlet looking for a few cool, unique scores I wouldn't find in the regular stores. Little did I know those subspace messages were already penetrating my neural pathways, guiding the tiny extraocular muscles within my eye socket towards that lonesome looking white cover with the DNA strand plunk in the middle. Readings of my memory membranes had alerted these shadowy individuals of my fondness for nerdy-named electronic music, knowing I couldn’t resist buying this album with barely a sound check involved. Somehow the masterminds behind these quantum level wavelengths had the foresight I’d end up contributing my thoughts of music to the internet, thus maintaining the Institute Of Frequency & Optical Research’s legacy long after their name had been left to the mists of techno history. They waited patiently, letting the CD sit within my towers for an opportune moment when their music would be brought to light once more.
They chose their target well, realizing my insatiable need to prove that Chaos Theory rules supreme would incite me to introduce the Random Review concept at TranceCritic. That, despite a large collection of music, even the most hopelessly forgotten and abandoned works could be resurrected within the public’s ears if only by mere chance. Sensing their time finally at hand, I was sent the subspace messages intended for motor control of my arm and hand. Despite closing my eyes, doing a quick spin, and running my fingertips up and down the tower, I was manipulated enough that my second Random Review choice ended up being this album. The masterplan unfolds, where, despite the general lambasting and shoddy penmanship displayed in that TranceCritic review, a few dozen more folks in this world came to know of the Institute Of Frequency & Optical Research. Er, yeah, that was one of the doggiest reviews on TranceCritic in terms of views. Guess you just can’t beat reader apathy.
How such a CD sourced from the UK ended up in the backstands of a Surrey pawn shop remains a mystery. Perhaps a former hapless victim of these Subspace Messages overcame his mind control, fleeing as far West as he could go, hoping to toss it into the Pacific Ocean where a giant octopus might mangle it for good. He couldn’t commit though, the subspace messages overriding such desire. He could at least get some money from it though.
At least I know I’m not alone in my mental manipulations, Lord Discogs telling me nine others have suffered this fate. Honestly, it was the fact this was even in the database’s early archives that convinced me it was a website worth keeping tabs on, plus help contribute with my own rare gatherings. Yay for small achievements!
Labels:
1994,
20xx Update,
acid,
album,
ambient techno,
downtempo,
I.F.O.R.,
Jump Cut,
sci-fi,
techno
Thursday, October 29, 2015
James Horner - Star Trek III: The Search For Spock
Capitol/GNP Crescendo: 1984/1990
Now we’re getting into real geeky territory.
The first two Star Trek movie soundtracks, one can make the argument they surpass the source material, making them essential additions to any gatherer of classic film scores. Jerry Goldsmith, already no slouch in Hollywood, made some of Trek’s most iconic pieces for The Motion Picture, such that he’d recycle many of those themes in the later films he scored. James Horner, a total newcomer in Hollywood, made some of Trek’s most thrilling music for The Wrath Of Khan, such that he’d recycle some of those themes in other films he scored. Either way, both are standouts of the sci-fi soundtrack genre, such that you don’t need to be a Trekkie to appreciate them.
Beyond that, however, we’re getting deep into the realm of fans-only releases. There’s a couple more Trek soundtracks after this one I wouldn’t mind having should I find them on the cheap. Cliff Eidelman’s work for Star Trek VI: The Undiscovered Country recaptured many aspects of Horner’s compositions without stepping on James’ toes much, and Goldsmith turned in another winner with his work on Star Trek: First Contact. Maybe if I were to indulge my inner Trekkie to the utmost, some gathered works from The Next Generation and Deep Space Nine would be nice, but that’s an extreme case.
Instead, I’ve only gone as far as Star Trek III: The Search For Spock, because another LP of James Horner Trek music can’t go wrong. It’s also remarkably different compared to The Wrath Of Khan, if anything because the movie itself is a departure from the previous one. A somber mood permeates much of the film, as can be expected when our hero James T. Kirk is dealing with so much tragedy throughout. Not just the loss of Spock in Khan, but his subsequent rebellion against Starfleet, the death of his son David, the forced destruction of the Enterprise, and the total annihilation of the Genesis Planet, putting a damper on all those ‘life from death’ themes. Oh, um, spoilers, I guess?
Horner’s score reflects many of these moments, seldom going for the thrilling, bombastic orchestrations in Khan. Stealing The Enterprise is the lone exception, giving us a taste of exciting adventure despite the action on screen being rather mundane – it’s a perfect example of a score completely selling a scene, which Horner excelled at even at this early stage of his career.
Since he didn’t have to come up with as many original themes either, Horner experimented a little, mostly in his instrumentations. Klingons may not have been as iconic as Goldsmith’s theme for the classic alien species, but the clanking percussion Horner uses works wonderfully for a culture with a military industrial complex. Alternatively, the soft, meditative exotic drums in The Katra Ritual serves as a strong contrast for the logical Vulcans. And in keeping things human and ‘80s, there’s a bonus synth-pop rendition of the movie’s main theme. Yeah, that was common on soundtracks back then. Don’t ask.
Now we’re getting into real geeky territory.
The first two Star Trek movie soundtracks, one can make the argument they surpass the source material, making them essential additions to any gatherer of classic film scores. Jerry Goldsmith, already no slouch in Hollywood, made some of Trek’s most iconic pieces for The Motion Picture, such that he’d recycle many of those themes in the later films he scored. James Horner, a total newcomer in Hollywood, made some of Trek’s most thrilling music for The Wrath Of Khan, such that he’d recycle some of those themes in other films he scored. Either way, both are standouts of the sci-fi soundtrack genre, such that you don’t need to be a Trekkie to appreciate them.
Beyond that, however, we’re getting deep into the realm of fans-only releases. There’s a couple more Trek soundtracks after this one I wouldn’t mind having should I find them on the cheap. Cliff Eidelman’s work for Star Trek VI: The Undiscovered Country recaptured many aspects of Horner’s compositions without stepping on James’ toes much, and Goldsmith turned in another winner with his work on Star Trek: First Contact. Maybe if I were to indulge my inner Trekkie to the utmost, some gathered works from The Next Generation and Deep Space Nine would be nice, but that’s an extreme case.
Instead, I’ve only gone as far as Star Trek III: The Search For Spock, because another LP of James Horner Trek music can’t go wrong. It’s also remarkably different compared to The Wrath Of Khan, if anything because the movie itself is a departure from the previous one. A somber mood permeates much of the film, as can be expected when our hero James T. Kirk is dealing with so much tragedy throughout. Not just the loss of Spock in Khan, but his subsequent rebellion against Starfleet, the death of his son David, the forced destruction of the Enterprise, and the total annihilation of the Genesis Planet, putting a damper on all those ‘life from death’ themes. Oh, um, spoilers, I guess?
Horner’s score reflects many of these moments, seldom going for the thrilling, bombastic orchestrations in Khan. Stealing The Enterprise is the lone exception, giving us a taste of exciting adventure despite the action on screen being rather mundane – it’s a perfect example of a score completely selling a scene, which Horner excelled at even at this early stage of his career.
Since he didn’t have to come up with as many original themes either, Horner experimented a little, mostly in his instrumentations. Klingons may not have been as iconic as Goldsmith’s theme for the classic alien species, but the clanking percussion Horner uses works wonderfully for a culture with a military industrial complex. Alternatively, the soft, meditative exotic drums in The Katra Ritual serves as a strong contrast for the logical Vulcans. And in keeping things human and ‘80s, there’s a bonus synth-pop rendition of the movie’s main theme. Yeah, that was common on soundtracks back then. Don’t ask.
Wednesday, October 28, 2015
James Horner - Star Trek II: The Wrath Of Khan (Expanded Edition)
Atlantic/Retrograde Records: 1982/2009
The only Star Trek soundtrack you’re supposed to have, even if you’re not a fan of Star Trek soundtracks. I know, I know. You’re wondering how on Earth can there be that specific a music niche, but check it, yo’. Star Trek is a massive enterprise, finding its way into every form of consumable medium known to the Western world. We obviously think of it as a TV and movie franchise, but all those fancy images don’t come silent, each feature film and weekly episode requiring scores to set the tone and mood. Even with its shoestring budget, The Original Series came up with some iconic pieces everyone recognizes (and lovably mock), and The Next Generation had its moments too. And when you have original scores made for each episode, every series has volumes of music a die-hard Trekkie can nab their hands on. Plus, there's video game soundtracks, audio books, music inspired by Trek, and the list goes on.
However, The Wrath Of Khan is different. This isn't so much a soundtrack for Star Trek II, but rather a soundtrack composed by James Horner that happens to be a Star Trek film. That wasn’t much of a distinction when the movie came out, as Mr. Horner was just starting out in scoring films. A few decades on though, and several famous soundtracks under his belt (Braveheart, Titanic, Glory, Willow, Rocketeer, etc., etc.), we've come to hear certain traits and signifiers in Horner's work. Those exhilarating set pieces, the memorable heart-wrenching melodies, a bounty of leitmotif riches – it’s no small wonder Horner became one of Hollywood’s most famous go-to composers.
The Wrath Of Khan wasn’t Horner first score, but it definitely provided his first opportunity in showcase his talents to a wide audience. The result is one of the most memorable scores ever committed to a sci-fi adventure flick, a remarkable feat considering Horner had Jerry Goldsmith’s iconic Star Trek score hovering just one movie prior (to say nothing of Star Wars). Fortunately for Horner though, he had a much better movie to work with, encouraged to go as bombastic as he wished by director Nicholas Meyer. Swashbuckling music for the Enterprise and her crew, menacing marches of ancient glories for Khan and his cronies, triumphant cues, mournful losses, this score has everything, never skimping on wrenching every last bit of tension and emotion from his compositions. Given the final result, one would think he’d used up every great idea in his repertoire on this movie. Little were we to know he was just getting started.
That’s why this soundtrack is as much a showcase of James Horner as it is a backing score to the best Star Trek movie ever made. When you think of the other films, their scores still sound Star Trek, the composers mostly adhering to the franchise’s needs. Horner, on the other hand, transcended that, and helped lift The Wrath Of Khan well beyond expectations in the process, to a peak that’s yet to be matched.
The only Star Trek soundtrack you’re supposed to have, even if you’re not a fan of Star Trek soundtracks. I know, I know. You’re wondering how on Earth can there be that specific a music niche, but check it, yo’. Star Trek is a massive enterprise, finding its way into every form of consumable medium known to the Western world. We obviously think of it as a TV and movie franchise, but all those fancy images don’t come silent, each feature film and weekly episode requiring scores to set the tone and mood. Even with its shoestring budget, The Original Series came up with some iconic pieces everyone recognizes (and lovably mock), and The Next Generation had its moments too. And when you have original scores made for each episode, every series has volumes of music a die-hard Trekkie can nab their hands on. Plus, there's video game soundtracks, audio books, music inspired by Trek, and the list goes on.
However, The Wrath Of Khan is different. This isn't so much a soundtrack for Star Trek II, but rather a soundtrack composed by James Horner that happens to be a Star Trek film. That wasn’t much of a distinction when the movie came out, as Mr. Horner was just starting out in scoring films. A few decades on though, and several famous soundtracks under his belt (Braveheart, Titanic, Glory, Willow, Rocketeer, etc., etc.), we've come to hear certain traits and signifiers in Horner's work. Those exhilarating set pieces, the memorable heart-wrenching melodies, a bounty of leitmotif riches – it’s no small wonder Horner became one of Hollywood’s most famous go-to composers.
The Wrath Of Khan wasn’t Horner first score, but it definitely provided his first opportunity in showcase his talents to a wide audience. The result is one of the most memorable scores ever committed to a sci-fi adventure flick, a remarkable feat considering Horner had Jerry Goldsmith’s iconic Star Trek score hovering just one movie prior (to say nothing of Star Wars). Fortunately for Horner though, he had a much better movie to work with, encouraged to go as bombastic as he wished by director Nicholas Meyer. Swashbuckling music for the Enterprise and her crew, menacing marches of ancient glories for Khan and his cronies, triumphant cues, mournful losses, this score has everything, never skimping on wrenching every last bit of tension and emotion from his compositions. Given the final result, one would think he’d used up every great idea in his repertoire on this movie. Little were we to know he was just getting started.
That’s why this soundtrack is as much a showcase of James Horner as it is a backing score to the best Star Trek movie ever made. When you think of the other films, their scores still sound Star Trek, the composers mostly adhering to the franchise’s needs. Horner, on the other hand, transcended that, and helped lift The Wrath Of Khan well beyond expectations in the process, to a peak that’s yet to be matched.
Tuesday, October 27, 2015
Jerry Goldsmith - Star Trek: The Motion Picture (20th Anniversary Edition)
Columbia/Sony Legacy: 1979/1998
Still not the geekiest thing in my music collection, though I can't deny it being somewhere in the Top Ten. If I had any of the Star Wars soundtracks, it'd certainly be geekier than that, though not as geeky were the original Battlestar Galactica among my CDs. I guess it's proper-nerdy to claim I've got any Star Trek soundtracks and not Star Wars, but here's the thing: I'll never have to purchase a Star Wars soundtrack. Those compositions are so ubiquitous in geekdom, there's no effort in hearing John Williams' music. Hell, there's a disco medley of Star Wars that occasionally pops up on my work radio – ain't no way you'd hear the same for Star Trek.
In any case, it doesn't matter whether having Star Trek: The Motion Picture is geeky or not, because connoisseurs of sci-fi soundtracks agree Jerry Goldsmith's score is among the best out there. When you think Star Trek, you almost inevitably think of that main theme, a triumphant piece of music, ready to explore the cosmos in the name of adventure and discovery. Of course, it helps they reused the theme for The Next Generation, all but assuring its permanent place in pop culture, but The Motion Picture was its debut, and likely the only thing most folks recall of the movie. That, and the fact it was a slog of special effects over-indulgence. But hey, it’s one of the only Trek movies to go super-hard sci-fi, and I kinda’ appreciate for that, even if I only ever watch it on the laziest of rainy afternoons.
Before I got this soundtrack though, another reason I would throw the movie on was to bask in the wonderfully alien sounds of Craig Huxley’s Blaster Beam, an eighteen-foot long monstrosity of piano strings, aluminum, magnets, and artillery shell (yes, really). Huxley was already making incidental sounds and clips for Trek related media, but when he showed the instrument off to Goldsmith, the composer instantly knew he had his signature sound for the movie's antagonist. And a good thing too, the Blaster Beam injecting a remarkable amount of omnipresent menace and character to nothing more than a lot of special effects and a Voyager probe prop.
Some feel Goldsmith's score was wasted on The Motion Picture, but it's honestly one of the few shining positives of the movie. All those scenes of flying through space, flying through space clouds, flying over impossibly giant probes, and an inconsequential love story would have fallen flatter than Saturn’s rings without the music. Goldsmith captured the mystery and awe of exploration and the unknown as best as anyone could for a hard sci-fi movie, and is worth a listen on those merits.
Thrown in this 20th anniversary collector’s edition is the old Inside Star Trek record, where Gene Roddenberry conducts interviews with cast members and gives lectures. It’s pure Trekkie fluff, with a curious take away: Mr. Roddenberry’s fascination with sex in sci-fi. Ah, so those mini-skirts weren’t standard issue after all.
Still not the geekiest thing in my music collection, though I can't deny it being somewhere in the Top Ten. If I had any of the Star Wars soundtracks, it'd certainly be geekier than that, though not as geeky were the original Battlestar Galactica among my CDs. I guess it's proper-nerdy to claim I've got any Star Trek soundtracks and not Star Wars, but here's the thing: I'll never have to purchase a Star Wars soundtrack. Those compositions are so ubiquitous in geekdom, there's no effort in hearing John Williams' music. Hell, there's a disco medley of Star Wars that occasionally pops up on my work radio – ain't no way you'd hear the same for Star Trek.
In any case, it doesn't matter whether having Star Trek: The Motion Picture is geeky or not, because connoisseurs of sci-fi soundtracks agree Jerry Goldsmith's score is among the best out there. When you think Star Trek, you almost inevitably think of that main theme, a triumphant piece of music, ready to explore the cosmos in the name of adventure and discovery. Of course, it helps they reused the theme for The Next Generation, all but assuring its permanent place in pop culture, but The Motion Picture was its debut, and likely the only thing most folks recall of the movie. That, and the fact it was a slog of special effects over-indulgence. But hey, it’s one of the only Trek movies to go super-hard sci-fi, and I kinda’ appreciate for that, even if I only ever watch it on the laziest of rainy afternoons.
Before I got this soundtrack though, another reason I would throw the movie on was to bask in the wonderfully alien sounds of Craig Huxley’s Blaster Beam, an eighteen-foot long monstrosity of piano strings, aluminum, magnets, and artillery shell (yes, really). Huxley was already making incidental sounds and clips for Trek related media, but when he showed the instrument off to Goldsmith, the composer instantly knew he had his signature sound for the movie's antagonist. And a good thing too, the Blaster Beam injecting a remarkable amount of omnipresent menace and character to nothing more than a lot of special effects and a Voyager probe prop.
Some feel Goldsmith's score was wasted on The Motion Picture, but it's honestly one of the few shining positives of the movie. All those scenes of flying through space, flying through space clouds, flying over impossibly giant probes, and an inconsequential love story would have fallen flatter than Saturn’s rings without the music. Goldsmith captured the mystery and awe of exploration and the unknown as best as anyone could for a hard sci-fi movie, and is worth a listen on those merits.
Thrown in this 20th anniversary collector’s edition is the old Inside Star Trek record, where Gene Roddenberry conducts interviews with cast members and gives lectures. It’s pure Trekkie fluff, with a curious take away: Mr. Roddenberry’s fascination with sex in sci-fi. Ah, so those mini-skirts weren’t standard issue after all.
Sunday, July 19, 2015
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.
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.
Sunday, May 31, 2015
Eat Static - Science Of The Gods
Mammoth Records: 1997
I may have pre-hyped this album a bit much, what with so many namedrops in past Eat Static reviews. For all I know, Science Of The Gods was unanimously rejected by the psy-trance faithful, seen as a betrayal of all that the goa scene held true. The hippies and techno crusties were in no need of their chosen heroes getting in on that surging d’n’b action, and junglists were even more insular, waging their own war over classic Amen Break darkside productions versus the new tech-step hotness. There’s no way these two disparate scenes should have any business interacting. It’s poison. It’s toxic. It’s catastrophic. You don’t cross the scenes!
So of course Eat Static said nuts to all that and delivered some of the gnarliest d’n’b I’ve ever heard. In adding the tricks they developed performing goa and psy, these aliens don’t so much invade the junglist’s realm as take some artefacts for themselves for display on their own world. The main tune off here, Interceptor, features a pummelling tech-step rhythm with thick, chunky kicks and a grimy acid bassline, serving as a rudder for all manner of sci-fi sound effects, knob tweaks, drum fills, and general psychedelic craziness to hang off. If Eat Static made this track specifically as a tie-in with the RTS game Conquest Earth, it’s about the only saving grace in that forgotten crap game. Come, bask in its glorious ‘90s CGI alien invasion video. It’s like watching a demo episode of Babylon 5!
Two other tracks on Science Of The Gods work the d’n’b angle, Dissection going deeper with Amen Break business with their usual assortment of sci-fi sounds and noises. Following a brief interlude, they tentatively dip their toes in jazzstep’s calmer waters on Bodystealers before going full-in with experimental beatcraft of micro-bleeps and reverb effects. Can’t ever say these guys never ventured where no others dared, even if this portion grows overindulgent after a couple minutes.
For all the supposed talk of this album straying from Eat Static’s core audience, folks forget that’s only three tracks out of eight, the remaining attending to the needs of their loyal outdoor followers as expertly as ever. The opening titular cut is all kinds of trippy fun, giving us a dirty bit of twisted acid funk before seemingly falling off the rails. Nay, it’s just the duo playing, soon enough unleashing a beast of acid techno for the remainder. Elsewhere, Kryll floats about with a spacey, proggy vibe, Spawn will kick the shit out of you, and Contact leans way old-school goa, sounding like a leftover from the Abduction days. Finally, The Hanger is one seriously dubby, low-riding monster of a track – imagine Predator cruising the cosmos with blunts billowing against the stars, feelin’ chill after a successful hunt.
I’ve no more else to say about Science Of The Gods. It may look campy, but that’s always been Eat Static’s charm, fooling the suspicious with the weird before unleashing their face-melting weaponry upon your ears.
I may have pre-hyped this album a bit much, what with so many namedrops in past Eat Static reviews. For all I know, Science Of The Gods was unanimously rejected by the psy-trance faithful, seen as a betrayal of all that the goa scene held true. The hippies and techno crusties were in no need of their chosen heroes getting in on that surging d’n’b action, and junglists were even more insular, waging their own war over classic Amen Break darkside productions versus the new tech-step hotness. There’s no way these two disparate scenes should have any business interacting. It’s poison. It’s toxic. It’s catastrophic. You don’t cross the scenes!
So of course Eat Static said nuts to all that and delivered some of the gnarliest d’n’b I’ve ever heard. In adding the tricks they developed performing goa and psy, these aliens don’t so much invade the junglist’s realm as take some artefacts for themselves for display on their own world. The main tune off here, Interceptor, features a pummelling tech-step rhythm with thick, chunky kicks and a grimy acid bassline, serving as a rudder for all manner of sci-fi sound effects, knob tweaks, drum fills, and general psychedelic craziness to hang off. If Eat Static made this track specifically as a tie-in with the RTS game Conquest Earth, it’s about the only saving grace in that forgotten crap game. Come, bask in its glorious ‘90s CGI alien invasion video. It’s like watching a demo episode of Babylon 5!
Two other tracks on Science Of The Gods work the d’n’b angle, Dissection going deeper with Amen Break business with their usual assortment of sci-fi sounds and noises. Following a brief interlude, they tentatively dip their toes in jazzstep’s calmer waters on Bodystealers before going full-in with experimental beatcraft of micro-bleeps and reverb effects. Can’t ever say these guys never ventured where no others dared, even if this portion grows overindulgent after a couple minutes.
For all the supposed talk of this album straying from Eat Static’s core audience, folks forget that’s only three tracks out of eight, the remaining attending to the needs of their loyal outdoor followers as expertly as ever. The opening titular cut is all kinds of trippy fun, giving us a dirty bit of twisted acid funk before seemingly falling off the rails. Nay, it’s just the duo playing, soon enough unleashing a beast of acid techno for the remainder. Elsewhere, Kryll floats about with a spacey, proggy vibe, Spawn will kick the shit out of you, and Contact leans way old-school goa, sounding like a leftover from the Abduction days. Finally, The Hanger is one seriously dubby, low-riding monster of a track – imagine Predator cruising the cosmos with blunts billowing against the stars, feelin’ chill after a successful hunt.
I’ve no more else to say about Science Of The Gods. It may look campy, but that’s always been Eat Static’s charm, fooling the suspicious with the weird before unleashing their face-melting weaponry upon your ears.
Thursday, April 9, 2015
Sabled Sun - 2147
Cryo Chamber: 2015
In some ways, the haunting final transmission of Sabled Sun’s 2145 could have served as a perfect conclusion to the whole project. It’d be bleak as all Hell, a lone survivor from another time, left to scrape out what meager existence he has left in an inhospitable environment. Yet, struggle on he will, as that is what marks the indomitable human soul. If 2145 was a novel, what more fitting ending: the protagonist overcoming the remorseless antagonist that is the ruined world surrounding him? It matters not whether he survives for long; he's determined to leave some trace of mankind's fighting volition, overcoming our most horrible mistakes. Whether he succeeds or not is irrelevant, this is a spiritual triumph in the face of impossible circumstances. (holy cow, has Sabled Sun ever inspired my inner literature wanker!)
Carry on Simon Heath did though, with follow-up 2146 serving as a direct exploration of the ruined world compared to 2145's broad thematic setting. I initially figured it was set from the perspective of space travelers discovering the remnants of this world, but with an actual point-of-view protagonist being established in the album prior, it could be his continuing story as well. Either or would work in 2146's favor, though with 2147, I get the sense we're firmly back in the eroded shoes of our man from the past.
Whatever the case may be, as the cheery cover art illustrates, things haven’t improved much on the planet in the two years since first awakening (and three years since the last Sabled Sun album came out). The opening track is titled Survival, and through windswept field recordings, pelting acid rain, and staggered steps through charred landscapes, a mournful dirge emanates from the embers of civilization. Much of the music on 2147 follows in Survival’s wake, long droning compositions with dark pads layered to the point of distortion, as though even tonal harmony can no longer exist in this desolate clime’. There’s also more sense of journey in this album, and not just because there’s a track titled Journey either. Other track titles include The Outer Zone, The Space Center, Hope, Home, and Hibernation. Wait… Hope? As in, there’s some actual light within the abyss that is this future Hellscape?
Perhaps. The titles and music suggests there may be a few holdouts, and that our nameless protagonist from 2145 has come across them. Or he decided this world was not worth living in, and thus re-entered cryo slumber, a possibility of a better tomorrow should he be revived again. The final track Dreams Without A Future is certainly the most pleasant thing heard on all three Sabled Sun albums, a gentle bit of piano ambience with only the slightest bit of distortion added. After the ordeal we’ve been through, a respite is most welcome, a sweet release from the turmoil of this broken world. Of course, that’s all conjecture. Guess we’ll have to wait for the next chapter in Mr. Heath’s story to find out.
In some ways, the haunting final transmission of Sabled Sun’s 2145 could have served as a perfect conclusion to the whole project. It’d be bleak as all Hell, a lone survivor from another time, left to scrape out what meager existence he has left in an inhospitable environment. Yet, struggle on he will, as that is what marks the indomitable human soul. If 2145 was a novel, what more fitting ending: the protagonist overcoming the remorseless antagonist that is the ruined world surrounding him? It matters not whether he survives for long; he's determined to leave some trace of mankind's fighting volition, overcoming our most horrible mistakes. Whether he succeeds or not is irrelevant, this is a spiritual triumph in the face of impossible circumstances. (holy cow, has Sabled Sun ever inspired my inner literature wanker!)
Carry on Simon Heath did though, with follow-up 2146 serving as a direct exploration of the ruined world compared to 2145's broad thematic setting. I initially figured it was set from the perspective of space travelers discovering the remnants of this world, but with an actual point-of-view protagonist being established in the album prior, it could be his continuing story as well. Either or would work in 2146's favor, though with 2147, I get the sense we're firmly back in the eroded shoes of our man from the past.
Whatever the case may be, as the cheery cover art illustrates, things haven’t improved much on the planet in the two years since first awakening (and three years since the last Sabled Sun album came out). The opening track is titled Survival, and through windswept field recordings, pelting acid rain, and staggered steps through charred landscapes, a mournful dirge emanates from the embers of civilization. Much of the music on 2147 follows in Survival’s wake, long droning compositions with dark pads layered to the point of distortion, as though even tonal harmony can no longer exist in this desolate clime’. There’s also more sense of journey in this album, and not just because there’s a track titled Journey either. Other track titles include The Outer Zone, The Space Center, Hope, Home, and Hibernation. Wait… Hope? As in, there’s some actual light within the abyss that is this future Hellscape?
Perhaps. The titles and music suggests there may be a few holdouts, and that our nameless protagonist from 2145 has come across them. Or he decided this world was not worth living in, and thus re-entered cryo slumber, a possibility of a better tomorrow should he be revived again. The final track Dreams Without A Future is certainly the most pleasant thing heard on all three Sabled Sun albums, a gentle bit of piano ambience with only the slightest bit of distortion added. After the ordeal we’ve been through, a respite is most welcome, a sweet release from the turmoil of this broken world. Of course, that’s all conjecture. Guess we’ll have to wait for the next chapter in Mr. Heath’s story to find out.
Wednesday, April 8, 2015
Sabled Sun - 2145
Cryo Chamber: 2012
It took him nearly three years to do it, but Simon Heath finally released the next chapter in his Sabled Sun story, 2147. But wait, there's still the first album in this series, 2145! I should go back to that one first and get the whole picture, eh? Like, would you read Foundation by skipping Prelude? The Lord Of The Rings by skipping Fellowship? The Thrawn Trilogy by skipping Heir To The Empire? Nah, guy, you do things proper-like and read/hear things from the beginning. So to it then.
As 2145 is the opener to the Sabled Sun setting, it’s only appropriate there’s an Intro. Here, a nameless protagonist wakes up from a cryo’ sleep, providing a brief, haggard narration detailing the health conditions that led him taking such drastic measures. Finally having the reality of his environment settle in, he remarks with abject incomprehension, “You know, I imagined waking up not in any kind of utopia – not so naive – but at least something. I mean, I figured things were bad before... but this? ...what happened?” What indeed.
Heath is never explicit in the details, but track titles do provide some hints.This Is Where The World Ends, Singularity, Silo, Date Expired, Shattered, A New Sun and Acid Rain are such examples, with a few vague ones like The Ancient, Retina, and The Hideout thrown in for good measure. Or these could be references to the world we now find ourselves in, the historical events that led to the downfall of civilization forever lost. The music never explicitly details anything either – we are dealing with a dark ambient project, so our references are mood and conjecture, leaving things to interpretation. It's like an album full of those transitional bits from The FSOL's Dead Cities.
As for the music itself, it’s suitably sombre and bleak. Most tracks run relatively brief for the genre, seldom ever droning on for more than necessary (if you’re after that, check out the Signals spin-off). Some tracks focus more on melody, others on sound effects and immersion, all retaining a gritty, future-shock tone, though not so heavy on the sci-fi ‘scapes as the follow-up 2146 went. I found a few of the latter tracks growing redundant with this album’s theme, though the elegy Acid Rain near the end definitely puts a proper, reflective capper on what was lost in this future world.
The final track though, Transmission/Outro ...damn. A menacing, escalating drone with spits of static reminds you just how desolate the world now is, no chance of recovery, no light at the end. Then the nameless protagonist from the intro returns, sending a desperate plea to anyone who might hear him, even into space. “Humanity’s last testament, a lonely voice in the cosmos.” He wonders if intelligences beyond might discover some trace of what we accomplished, or be disgusted that we threw it all away. Then he proclaims that he’s still there, even as his voice is consumed by suffocating static. Defiant to the last.
It took him nearly three years to do it, but Simon Heath finally released the next chapter in his Sabled Sun story, 2147. But wait, there's still the first album in this series, 2145! I should go back to that one first and get the whole picture, eh? Like, would you read Foundation by skipping Prelude? The Lord Of The Rings by skipping Fellowship? The Thrawn Trilogy by skipping Heir To The Empire? Nah, guy, you do things proper-like and read/hear things from the beginning. So to it then.
As 2145 is the opener to the Sabled Sun setting, it’s only appropriate there’s an Intro. Here, a nameless protagonist wakes up from a cryo’ sleep, providing a brief, haggard narration detailing the health conditions that led him taking such drastic measures. Finally having the reality of his environment settle in, he remarks with abject incomprehension, “You know, I imagined waking up not in any kind of utopia – not so naive – but at least something. I mean, I figured things were bad before... but this? ...what happened?” What indeed.
Heath is never explicit in the details, but track titles do provide some hints.This Is Where The World Ends, Singularity, Silo, Date Expired, Shattered, A New Sun and Acid Rain are such examples, with a few vague ones like The Ancient, Retina, and The Hideout thrown in for good measure. Or these could be references to the world we now find ourselves in, the historical events that led to the downfall of civilization forever lost. The music never explicitly details anything either – we are dealing with a dark ambient project, so our references are mood and conjecture, leaving things to interpretation. It's like an album full of those transitional bits from The FSOL's Dead Cities.
As for the music itself, it’s suitably sombre and bleak. Most tracks run relatively brief for the genre, seldom ever droning on for more than necessary (if you’re after that, check out the Signals spin-off). Some tracks focus more on melody, others on sound effects and immersion, all retaining a gritty, future-shock tone, though not so heavy on the sci-fi ‘scapes as the follow-up 2146 went. I found a few of the latter tracks growing redundant with this album’s theme, though the elegy Acid Rain near the end definitely puts a proper, reflective capper on what was lost in this future world.
The final track though, Transmission/Outro ...damn. A menacing, escalating drone with spits of static reminds you just how desolate the world now is, no chance of recovery, no light at the end. Then the nameless protagonist from the intro returns, sending a desperate plea to anyone who might hear him, even into space. “Humanity’s last testament, a lonely voice in the cosmos.” He wonders if intelligences beyond might discover some trace of what we accomplished, or be disgusted that we threw it all away. Then he proclaims that he’s still there, even as his voice is consumed by suffocating static. Defiant to the last.
Friday, November 14, 2014
Biosphere - Microgravity
Origo/Apollo: 1991/1992
Such an important album, this. Biosphere practically came out of nowhere, making his mark on a fledgling ambient techno scene before it had established itself as a distinct genre – most still referred to 'ambient with a kick' as ambient house, since The Orb was about the only act with enough clout to set trends. Microgravity didn't even get much notice at first, initially being released in Geir Jenssen's native Norway on Origo Records. Within the following year though, he was signed to seminal ambient techno label Apollo, bringing him greater exposure as he rubbed shoulders with other future stars of the genre like Aphex Twin and David Morley. And because this is such a quirky fun-fact, yes, Microgravity technically beat Selected Ambient Works 86-92 to the shops. Why isn't Biosphere more commonly name-dropped, then? UK press bias?
Whatever the case, this album remains one of the lasting curiosities of the early rave scene. Mixing space ambient and astro-chatter with house and techno wasn’t new, but Jenssen brought a fresh perspective to the formula. For one thing, he played things entirely straight, in that our ventures into the cosmos should be treated with gravitas – that the vast outer reaches of the endless black beyond can be a cold, desolate place we should respect and even fear. That icy tone went on to become something of a Biosphere trademark, but at this primordial stage in ambient techno development it was a stark contrast to the cheary, optimistic outlook most of his peers approached the subject with. Guess living in a region with long, cold winter nights will do that to a chap. Adding to that sense of emptiness are dub effects, sometimes cribbed from The Orb’s approach but also applied to Jenssen’s choice of sci-fi synths. The bell tones of Cloudwalker sound impossibly vast, and all the more alien with eerie melodies worming their way about.
Still, this is an early ‘90s album, and Microgravity does share some common traits with rave music of the time. For one thing, the UK ‘bleep techno’ sound is all over this, which makes sense since it was the hot new trend for producers aiming for a little ‘intelligence’ in their tracks (FSOL, LFO, Bobby BLO). Jenssen also can’t help adding in a few rave riffs (The Fairy Tale), standard dance beats (Chromosphere) and ethnic samples (Cygnus-A) here and there, instantly dating Microgravity to the era it sprung from. Meanwhile, the crisp looping samples, while giving these tunes a distinct flavour, shows Jenssen had yet to refine his production into something more musically flowing.
Of course, these attributes are all plusses for folks who can’t get enough of early ambient techno, roughness, warts and all. I’ve even seen a few bemoan the fact Jenssen took his Biosphere work away from the realms of techno groove so soon after Microgravity, but even here one can tell he was looking beyond what that scene offered. Remarkable aspirations for a guy who helped define a genre.
Such an important album, this. Biosphere practically came out of nowhere, making his mark on a fledgling ambient techno scene before it had established itself as a distinct genre – most still referred to 'ambient with a kick' as ambient house, since The Orb was about the only act with enough clout to set trends. Microgravity didn't even get much notice at first, initially being released in Geir Jenssen's native Norway on Origo Records. Within the following year though, he was signed to seminal ambient techno label Apollo, bringing him greater exposure as he rubbed shoulders with other future stars of the genre like Aphex Twin and David Morley. And because this is such a quirky fun-fact, yes, Microgravity technically beat Selected Ambient Works 86-92 to the shops. Why isn't Biosphere more commonly name-dropped, then? UK press bias?
Whatever the case, this album remains one of the lasting curiosities of the early rave scene. Mixing space ambient and astro-chatter with house and techno wasn’t new, but Jenssen brought a fresh perspective to the formula. For one thing, he played things entirely straight, in that our ventures into the cosmos should be treated with gravitas – that the vast outer reaches of the endless black beyond can be a cold, desolate place we should respect and even fear. That icy tone went on to become something of a Biosphere trademark, but at this primordial stage in ambient techno development it was a stark contrast to the cheary, optimistic outlook most of his peers approached the subject with. Guess living in a region with long, cold winter nights will do that to a chap. Adding to that sense of emptiness are dub effects, sometimes cribbed from The Orb’s approach but also applied to Jenssen’s choice of sci-fi synths. The bell tones of Cloudwalker sound impossibly vast, and all the more alien with eerie melodies worming their way about.
Still, this is an early ‘90s album, and Microgravity does share some common traits with rave music of the time. For one thing, the UK ‘bleep techno’ sound is all over this, which makes sense since it was the hot new trend for producers aiming for a little ‘intelligence’ in their tracks (FSOL, LFO, Bobby BLO). Jenssen also can’t help adding in a few rave riffs (The Fairy Tale), standard dance beats (Chromosphere) and ethnic samples (Cygnus-A) here and there, instantly dating Microgravity to the era it sprung from. Meanwhile, the crisp looping samples, while giving these tunes a distinct flavour, shows Jenssen had yet to refine his production into something more musically flowing.
Of course, these attributes are all plusses for folks who can’t get enough of early ambient techno, roughness, warts and all. I’ve even seen a few bemoan the fact Jenssen took his Biosphere work away from the realms of techno groove so soon after Microgravity, but even here one can tell he was looking beyond what that scene offered. Remarkable aspirations for a guy who helped define a genre.
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