Various - The Wandering II Compilation (Part 1)

Silent Season: 2015

It's a rare event when Silent Season releases a compilation, their first coming three years after the label launched. Following that initial Wandering CD, they put out a white-label collection called Full Circle, then sat fallow on the format for five years. Not really sure why that is, as they seem to have enough contacts in dub ambient and techno circles to warrant a few favours phoned in for contributions. And while it's lovely and all having spiffy albums and pleasing EPs available, the compilation has long been the preferred format in promoting one's manifesto, a sampler of artists and genres a label wishes to support by luring in the curious passerby. Then again, Silent Season is the sort of print that's long been able to sell itself almost entirely by word-of-mouth, the quality of their releases readily reaching the ears of dedicated disciples of dubbed-out music. Making compilations for the pure purpose of promotion would be a redundant venture, and likely a time consuming effort for a label that prides itself on its minimalist aesthetic.

Nay, better to save the format for celebratory events, which is what Silent Season done did in finally releasing a second volume of The Wandering in 2015. The occasion of note with this item is it marking the label's twentieth release, a feat that... doesn't quite add up when I look over their discography with The Lord That Knows All. Mind, Lord Discogs' cataloguing isn't an exact science, some albums appearing twice under different formats, so I guess I'll have to take it under faith that Silent Season is being on the level in claiming The Wandering II marks their double-ten triumph. I mean, that Dubpression Remix digital release from Rasmus Hedlund was just half a release anyway, right?

And just in case you felt this label's been far too skint in offering compilation options over the years, Silent Season didn't hold back on this one, going with a gargantuan 3CD extravaganza, inviting familiar artists from their past for a dub techno party. ASC is here! Segue is here! Inanitas is here! Mon0 is here! Tdel is here! Yuka is here! Um... is that it? No Vitalis Popoff? Or Shaded Explorer? Mind Over MIDI? Martin Nonstatic? Edanticonf? Refracted? Faru? Purl? Bueller?

Well hey, as I said before, a good compilation should expose you to new and unknown names, and The Wandering II definitely does that for yours truly. While there's a few artists here that I think I've come across in the past (Brando Lupi, Archivist, As If, Slownoise), most of these I'm dealing with for the first time. And since I've clearly almost used up my self-imposed word count now, I'll spend a second part detailing the musical particulars of this release – oh yes, it ain't just twenty-eight tracks of droning dub techno. I'll finish this one off by mentioning the track sequencing of The Wandering II is... odd, artists arranged in alphabetical order. Who even does such a thing? *cough*

Ashtech - Walkin' Target (Original TC Review)

Interchill Records: 2007

(2017 Update:
Ten years ago, almost to the day, this item dropped, and aside from Meditronica in 2009, nothing since - not even a contributing credit under his real name of Andrea Nicoletti. I know Lord Discogs doesn't have *all* the information out there, but surely it'd have something like added bass licks or keyboard jams to a project elsewhere. Yet checking out Ashtech's website now leads to a laser cutting company. It all strikes me as odd, considering the aggressive PR campaign Ashtech had when he was making his still active. I mean, for such a scant discography currently to his name, dude's got quite the Wiki written up. Anyone know what's up with that?

Walkin' Target has gradually grown better to my ears over the years (decade!). True, it's still not doing much different with reggae-dub and dancehall that you can't hear elsewhere, but it does it so well, I don't give a care. Maybe it's that I haven't heard many other albums of this sort in all that time, due to my lackadaisical efforts exploring this genre deeper beyond its shores. Then again, every time I throw this album on, folks within earshot always get their bop on when hearing Essential Credential, so that must mean ol' Ash' and Gaudi were onto something "natural universal" here.)


IN BRIEF: Ready on d’em roots, aigh’t?

The British must feel an eternal bond to Jamaica since the colonial period; it has to be the reason several UK youth are constantly inspired by the Caribbean island’s music. Roots, reggae, dub, and everything in between is as much a fixture with England’s potheads as grime is with the slums of London. Of course, it doesn’t hurt that many Jamaican immigrants bring their musical philosophies with them; one love between two island nations... or such.

Despite being Italian of origin before settling in London, Mr. Andrea Nicoletti – Ashtech - has felt this influence no less; chalk it up to his bass playing background - when you feel ‘d’em riddims’, the bass-heavy production of dub beckons. Long a collaborator, this is the first time he’s taken center-stage on a full-length, and he doesn’t hold back on exploring what roots music has to offer.

...such to the point he almost falls into the trap of merely copying it rather than providing his own spin. If you’ve casual knowledge of this music, you’ll find there isn’t much stylistically unique on Walkin’ Target. Ashtech honors the foundation pioneers like King Tubby laid out all those decades ago, so if this has never held much appeal for you, then it’s doubtful his album will change your mind.

Also, as this is very groove-orientated music, the direction of a given track is typically found in the sub-bass frequencies. As a result, those without the speakers to bring out the full dynamics of the lower end of the sonic realm (I’m looking at you, iPod generation) will be missing out. That extra layer of sound can vastly change your perspective of a given song here: where a run-of-the-mill roots tune will sound ordinary on ol’ laptop speakers, suddenly there’s something rather special going on once powerful sub-whoofers show just how intuitive that bassline really is.

Hmm, two nitpicks right out of the gate. Am I going to say anything nice at all about Walkin’ Target then? Absolutely, but I know you people can be fickle when it comes to dub, so best I clearly establish the generalizations before I get to the particulars, eh?

So... the particulars.

This is as fine a collection of dub as you’ll find these days. Already mentioned are the basslines, which grumble and growl in many cuts, but let us not forget about all the effects that come with the package. Cavernous reverb, endless streams of decay, stuttery echoes: all accounted for and present, with none sounding superfluous or overdone (an all too common side-effect from too much reefer indulgence with other acts). And while Walkin’ Target is mostly Ashtech’s show, the presence of long-time dub producer Gaudi in the studio with him definitely aids in getting the most out of all the production tricks the genre’s been known for. Even if the roots of the music are over-familiar, there are plenty of unique twists and turns provided to keep the attentive entertained.

And Ashtech does dabble in many variations too. There’s bouncy dub (Beat Da Drum, Gringo , Mahayana), darker ambient excursions (Buzz Dub, R.E.M.), grimier cuts borrowing from London’s dubstep scene (While The Music Plays, DNA), and traditional reggae styles (Sun Shines On You, Essential Credential). Even hip-hop and techno get an influential nod (Individuality and Plain Speaking, respectively).

As good as many as these are though, it’s when Cheshire Cat lends his talents to a track that things are taken up a notch on this album. You may recognize him as the guy releasing pressure or chanting about poor men on Leftfield tunes. While most of his toasting here is in support of Ashtech’s tracks, they add that extra bit of quirky roots vitality which is utterly infectious.

Except for the title track itself, where the Cat completely steals the show. Mind, that’s kind of the point, as he tells a harrowing story of inner-city strife: the death of a young man trying to make it big, dying for his troubles, and the anguish felt by his mother as a result. Ashtech wisely produces a backing track to complement the tale, and is the clear highlight of Walkin’ Target.

I suppose there’s little more to say here, as this release really does speak for itself. Revolutionary? Not really. Niche specific? Yeah, pretty much. Good nonetheless? Damn skippy, hippie! If Ashtech displays this much skill in honoring the past, one can only wonder what his future will hold.

Written by Sykonee for TranceCritic.com, 2007. © All rights reserved.

King Midas Sound - Waiting For You...

Hyperdub: 2009

Stupid of me sleeping on this when it first came out. I was fiending for more material from Kevin Martin after London Zoo, ready to hear any and all music The Bug had to offer. But not enough to follow developments in his other projects apparently, King Midas Sound making their debut in a flash before receding from the limelight again. Part of that was due to timing, Waiting For You... coming out at the tail-end of 2009, when I was burnt out keeping an ear to the pulse of electronic music for review purposes.

It's also a case of the group almost deliberately eschewing much media marketing, doing a few requisite interviews and tours, but not much else. Even Mr. Martin seemed hesitant in letting folks know that The Bug had a second project called King Midas Sound, one gestating in the background almost as long as his work for London Zoo had been in progress. Waiting For You... went so overlooked, there's no review for it at Resident Advisor, though one for lead-up single Dub Heavy Hearts And Ghosts, plus follow-up remix LP Without You. Still, that makes me more hip than RA now, right?

We did all finally catch up to this conglomerate of Kevin Martin, singer/crooner/spoken-worder Roger Robinson, and singer/artist Kiki Hitomi. It was a slow burn, which makes sense as Waiting For You... has a feeling of needing lengthy time and many play-throughs to simmer into your soul. Those coming into it expecting more of Mr. Martin's crushing bass assaults won't find that here, though the bottom-end is dutifully represented throughout. Plenty of that trip-hoppin' dub action too, utilized in such a manner that it creates a wall of white noise where Mr. Robinson's vocals ride along, like surfing waves of mile-high sound. Other times he's completely enveloped by the layers of timbre, his voice just another instrument to- wait, I've already typed such a description before, haven't I, when I reviewed the Fennesz collaboration Edition 1. Darn it, it's such a good description though.

What's interesting is that Roger wasn't really known for a soulful croon prior to his team-up with Kevin, his prior performance experience mostly poetry over a rhythm. And there are a few tracks that go that route on this album too, such as the punchy, minimalist (and super-preachy) Earth A Killya, and the interlude Sumtime. Elsewhere he edges closer to a dancehall cadence (I Man), but by and large he carries a song with his soft croon. And he'd never done anything like it before! He figured he'd carry on doing the spoken-word stuff, but when Kevin persisted in hearing him sing a little, he realized that was what would make King Midas Sound stand out as something unique in the UK's urban scene. Throw in a few spacey additions from Kiki (Outer Space really does live up to its name), plus a couple dubbed-out instrumentals for good measure, and voila, Waiting For You..., a neo-soul album like few others.

Wu-Tang Clan - The W

Loud Records: 2000

The first proper Wu-Tang Clan album I bought for myself, and not a bad one at that, but I can already hear the “tut-tut”ing from long time disciples. Why not get Enter 36 Chambers first, as you're supposed to do even if you're not a fan or the Wu-Tang Clan? Well, as the first Wu record I ever bought was The RZA Hits, it felt redundant springing for another record that had nearly half the same tracks on it (I was stupid for thinking that). Second, The W came out the following year I fell sway to the charms of hip-hop, so it was only logical I scoped that shit out post-haste, my honeymoon glow still preventing any sense of critical consideration.

The W has gone on to be one of the Clan's most difficult albums to talk about, in that it seems everyone has utterly conflicting feelings about it. They love that it's pared down to an easily digestible hour-long effort, yet surely the group had more to offer than just this? It's nifty hearing guest spots from other prominent rappers, but aren't they taking the limelight away from all the talent already within the group itself? All Clan members sound matured, sharp and on point, with even some of the weaker members finally coming into their own as lyricists, but have lost that spitting Hell-fire of their debut in the process. How great it is to hear the Wu over RZA beats for a full album (save a lone Mathematics cut), but only around half the tracks are actually memorable. Let's detail couple now!

Chamber Music: urgent strings with crackly samples. Careful (Click, Click): herky-jerky, sample-snapping, creepy woodwinds; definitely feels like you're in a claustrophobic gun-toting, warzone. Protect Ya Neck (The Jump Off): bouncy, loopy, with a great key-change mid-track, ruined by a lame U-God brag verse. Gravel Pit: even bouncier, a track totally aimed for the club, but at least RZA freely admits its intents, so it's a lot of fun (looks like they had fun playing cavemen in the video too).

Then there are weaker cuts, like the endlessly looping soul sample from Hollow Bones, and the plodding *thump-thump clap-clap* of One Blood Under W with Junior Reed. Ah well, the famed dancehall toaster gets a better track to close the album out on with the mournful Jah World. Speaking of guests, Snoop Dogg inexplicably appears with ODB in Conditioner with a bog-standard 'pimpz & hoes' verse. Okay, that's not accurate, the Dirt Dawg recording through a jail phone booth, hence the low-grade quality. I guess RZA realized there wasn't enough material there for a track, but Year 2000 Snoop's the last person up to the task of pinch-hitting for the Wu.

Okay, enough gripes. I do enjoy more than dislike stuff on The W, even if it comes off like much of the Clan's best material was now behind them. Then again, some of Method Man's lyrics in hidden track Clap have forever stuck with me. I don't know why.

EDM Weekly World News, July 2017

Tired of 'fake news' from the lame-stream EDM media? Dejected they never dig deep into the darkest, dank dungeons of Detroit's dons for 'unpresidented' discoveries? Time to return to that always reliable source of unreliable gossip, the EDM Weekly World News, released semi-seasonal as always!

Sadly, we couldn't find out who the new vocalist for The Timelords is going to be before going to print. Rumor has it being Linda Ronstadt.

Refracted - Through The Spirit Realm

Silent Season: 2015

Eh? What's this? I'm still hearing the theme to It's Always Sunny In Philadelphia playing? But... I already made my excuses in the review of Lingua Lustra's Source, a perfectly valid reason for 'springing' on a digital version of a release despite my steadfast mandate that I'll always go hard copy over digital: I initially got it for as a free download, then picked up the CD in a bulk deal from the label. See, perfectly legit. I've remained honest and true in my proclamation of never buying digital if a physical option remains. *Always Sunny In Philadelphia plays, now with title “Sykonee Buys A Digital Version Of A Vinyl Release”*

Oh, fine, 'tis true I caved on this one, but Silent Season is so good at twisting my rubber arm, don't you know. They actually sent out a Bandcamp discount through email, so I figured where's the harm in indulging one of their releases that came out in a physical medium I know I'll never buy. I mean, there's always the ultra-slim chance I might find one of their earlier CDs at a 'reasonable' price on the open market (haha, ha), but vinyl? Oh, Hell no! I don't dare start on the Black Crack addiction. Then again, I caved on my 'never digital' stance in this particular instance – who's to say I won't some day break to vinyl's ever-seductive gleam, its promises of audio fidelity grand and pure... NO! Must... resist...

Refracted is Alex Moya, a relative newcomer to the world of techno. He made his vinyl debut with Silent Season, on the 2013 EP Along A Ghostly Trail, following on that a couple years later with a debut album in Through The Spirit Realm. For some reason, it didn't click for me this was an LP (or 2x12”), figuring I'd simply be getting a single as most records from Silent Season go. It's rather pricey of the fiercely independent print to press wax of this sort, is what I'm saying. But yeah, five tracks hovering around the seven minute mark, an experimental shorty about three-and-a-half, and a ten-plus minute closer - I'd say this constitutes a proper LP.

As we're dealing with Silent Season, you bet the style of techno Mr. Moya brings us is deep, dubby, and filled with field recordings. It's also remarkably tribal, tracks like We Arrive, The Ritual Begins, and the titular cut getting my Psychik Warriors Ov Gaia triggers going. Right, it's not exactly like the PWoG we all know and love – none of that renegade grit in this mixdown – but the techno-kraft is close enough for me to dig it. The two tracks that bookend Through The Spirit Realm are more on that ambient trip though, which is fine if you like your subtle lush pads flush with sounds of the jungle and approaching thunderstorms. Still feels weird trading such rainforest fauna from that which Silent Season's more known for. Unless you wander the Amazon exhibit in the Vancouver Aquarium anyway.

Earth Nation - Terra Incognita

Eye Q Records: 1995

No one disputes Sven Väth was the Head of Eye Q and Harthouse, the face and brains, if you will. Several producers were easily the Muscle, acts that helped build the label into one of the seminal powerhouses of techno and trance coming out of Germany (Oliver Lieb, Hardfloor, Alter Ego, Resistance D, Vernon, Energy 52). One man, however, was unquestionably the Soul, always lurking in the studio away from fame and glory. Who's influence not only helped refine Sven's approach to dance music, but left an undeniable, lasting imprint on how we remember those Eye Q and Harthouse records to this day: Ralf Hildenbeutel. Not only was he behind some of their most successful singles (L'Esperanza, Superstring, My Name Is Barbarella, Desire, Firedance), but his songcraft gave many tracks a charming, retro-futuristic stylee we so often associate with early trance. He never got as much due as he deserved, but its difficult thinking of Eye Q or Harthouse without thinking of Ralf.

He had many projects with both labels, but one seems to have slipped from general discourse compared to his other works: Earth Nation. I suppose part of it has to do with the rather generic name, not exactly the sexiest option when surrounded by stuff like Progressive Attack, Odyssee Of Noise, Icon, Summerbreeze, and Cygnus X. His partnership with guitarist Marcus Deml yielded a few albums though, this here Terra Incognita their second effort. It's also regarded as one of classic trance's last great LPs before the tsunami of Oakenfold changed everything.

Even here, it's clear Ralf and Marcus knew the trends were shifting, Terra Incognita almost devoid of the blistering Frankfurt pace of old. The fastest track on here, The Ikarus Syndrome, features a rhythm that's right out of the Underworld Banger playbook, all the while opening with a lengthy, sweeping, operatic build that could give Cream punters goosebumps. Later in the album, Green Sky Is Red has a nicely brisk pace of its own, though has more in common with goa trance of the mid-'90s than anything Germanic. Elsewhere, tracks Elucidate and The Artificial Dream get more of a proggy groove going, the former with a warm-up set vibe, the latter sounding not out of place in a peak-hour Sasha & Diggers set of the time. Really, the only 'pure' trance cut on Terra Incognita is the opener Way In, a loopy hypnotic number that has as much to do with Frankfurt techno as anything else.

Throw in a few ambient interludes, a requisite 'experimental' track in Transfiguration (breakbeats in goa!), a couple wind-down downtempo tracks towards the end, and you've a remarkably solid trance album for the year 1995, hardly dated at all. Why does this go so overlooked, then? It came out towards the end of Eye Q's run? The 'Earth Nation' handle just too easily bypassed? Not appearing on enough Very Important DJ mixes? Who knows anymore, but if you crave vintage trance, there's no reason for you to ignore this.

Various - Techno Explosion (The Other Stuff)

Jumpin' & Pumpin': 1997

Fifty techno 'giants' has to be among the most ridiculous claims I've seen in the copy of a compilation. What does that even mean? Giant hits? Stakker Humanoid certainly charted, but beyond the FSOL stuff, I don't recognize a single thing. No, check that, there is one song that did significant chart action long ago, Eleanor Rigby. It's practically the same tune too, with the string section and everything, only this time, 'Lonely People' (Chris & Tim Laws) add some generic rave beats and piano fills. Fortunately, that's the extent of trendwhoring 'updates', but nowhere near the end of bandwagon jumping 'techno' cuts.

Though this was released in '97, Techno Explosion doesn't reach much beyond '93, almost entirely sticking to the old school rave era. One track dips a toe slightly beyond that, '95's Burnin' Love from Dutch happy hardcore act Critical Mass, and sounding ridiculously out of place among all the hoover anthems and sampled Amen breaks. What, did Jumpin' & Pumpin' not have enough material culled from EarthBeat, Elicit, and Debut, needing to call in a favour from ID&T to hit that fifty mark?

So there's a lot of rave riffs, proto-jungle, piano anthems and the like throughout Techno Explosion, which probably sounds like heaven if you can't get enough of that era of music. Trust me though, you'll grow tired of it all after four discs worth of non-hits. A huge chunk consist of stitched-together loops of well-worn styles and tropes, few raising above the standard stock of the time. Whenever I heard a cut that sounded a little more polished and intuitive, that there was an musician behind the console and not some hasty hack job, turned out it was a track Dougans and Cobain had a hand in. Man, these guys really were far too good for this shit, weren't they?

Right, it's not all forgotten unknowns rounding out three-fourths of Techno Explosion. The Urban Shakedown posse (Aphrodite, Claudio Giussani) join up with Andy Chatterley for the one-off Prodigy knock-off Feel That Feelin' as T-Boom! Steve Mac, who had a proper 'giant' hit in Nomad's Devotion, appears with a multitude of aliases and collaborations (Clockhouse Hours, Coma Kid, Suzy Shoes, Smak, Bubbles). Jamie Odell, who'd go onto some minor fame in jazzy, downtempo d'n'b as Jimpster, earns his early jungle strips as Flag. Darren Pearce would have a successful run with the Reactivate series (they of the cartoon sea-critter covers), but can't escape bog-standard rave 'ardcore here. There's a DJ Freshtrax with a few scattered contributions, though you might know him as Jon The Dentist these days.

There's not much else to mention. Techno Explosion is little more than a label expunging its back-catalogue in hopes of generating a couple extra bones, with as cheap a presentation as possible (not even an inlay booklet provided). It's like getting a torrent that promises hundreds of classic rave tracks, then discovering most of it is just the same nonsense slightly rearranged over and over and over.

Various - Techno Explosion (The FSOL Stuff)

Jumpin' & Pumpin': 1997

This is a compilation consisting of four CDs, with fifty tracks spread out across them. I bought this for exactly one track, Q by Mental Cube. It's a surprisingly difficult tune to procure on a physical medium these day. In fact, the original version that appears on here was its last official release, disc or digital. It didn't even get represented on FSOL's recent, early-alias retrospective By Any Other Name. Is Jumpin' & Pumpin' stingy with their rights to their pre-Virgin tunes or something?

Ah, I'll take what I can get. Not that Q is some ultra-rare track, having done the rounds on a few compilations back when it was new. Finding decent prices for CDs like EarthBeat, Breaks, Bass & Bleeps, and Techno Dance Party II is strangely difficult though, so upon spotting Techno Explosion for about half-price, for sure I'll bite. I mean, it's got Q on it, possible one of the greatest bleep-E' tunes ever crafted! Never fails giving me the knackered feels, floating on a good gurn when those strings and singing bleeps get to work.

But an even niftier selling point was the inclusion of so much more old FSOL material. Yage is here! Indo Tribe is here! Humanoid is here! Hell, even some of their most obscure alter egos are here. I guess a whole bunch of other tunes from the Jumpin' & Pumpin' library is a nice bonus, but like Hell I'm gonna' spend four reviews detailing all of it. So, despite the FSOL stuff getting spread out across all four discs, I'll just consolidate that material in this review, and save the rest for a second review. Trust me, it'll only take one to get through.

So what does Techno Explosion offer for pre-Lifeforms tunes? You get a couple tracks that appeared on Accelerator in Pulse State and Innate (aka: 1 In 8). There's also a track called Hard Head, a funky sample-breaks thing that Lord Discogs claims had never been released before appearing on here. Better get on it, completists.

Aside from Q, we also get the Mental Cube dreamy house cut So This Is Love. Hearing Stakker Humanoid again is always fun, a little more bleep action comes care of Indo Tribe's In The Mind Of A Child and I've Become What You Were, and the cuts from Art Science Technology (A.S.T. and Esus Flow) sound like the duo were trying their hand at the rock-influenced Madchester sound. Yage goes experimental tribal (Fuzzy Logic) and ravey house (Livin' For The Love). And, oh dear, are FSOL attempting an 'ardcore track with Space Virus as Smart Systems? Stay in your lane, lads.

While a few from this era undoubtedly retain classic status, they are all quite dated too, nowhere near the amazing production quality of even Accelerator material. Still, compared to what else Jumpin' & Pumpin' was churning out at the time, it's clear the duo was light years beyond their contemporaries even within this limited range of old school techno.

Lingua Lustra - Spaces

Spiritech: 2016

I could have reviewed this a couple months ago, when going through the previous alphabetical backlog. Spaces initially found itself in my library as a download earlier this year, perhaps as a short-term free giveaway from Lingua Lustra's Bandcamp. He has quite a few of those available, though mostly all singles and EPs, not full-length albums. Spaces falls into the latter camp, but there's no way I paid money just for a download. I've forever refused buying digital if a physical option is available. *Always Sunny In Philadelphia theme starts playing*...

No, wait, there's a logical reason for having a CD of this! See, Spaces comes care of Spiritech, a short-lived label helmed by Alireza Zaifnejad (BlueBliss) and Albert Borkent; aka: Lingua Lustra. Mostly dealing with digital, Spiritech started dabbling in CD options this past year, including a 4CD deal of their four latest albums. Spaces was among those, and I thought to myself, “Well, I already have the digital version, I may as well include it in my standard backlog in anticipation of getting the CD.” And while I did listen to this in that batch, I didn't want to 'cheat' reviewing it without first having the physical copy on hand (why do I make things needlessly convoluted!?). For some reason though, the CD order took a long time arriving, over two-months – wasn't Spiritech situation in Saskatchewan? I know we make our 'hicksville' jokes about the province here on the West Coast, but seriously? I can only assume these CDs came from Mr. Borkent's own stash in Europe, what with the label folding and all (more on that later).

Naturally, I'm going on and on (beyond the halcyon) about pointless info because I'm left with Yet Another Ambient Album With Little To Detail. Spaces contains only three tracks, each nearly doubling the length of the previous one. Opener Ruin runs about seven minutes, follow-up Eden hovers around twelve and a half, while final cut Source stretches out to the twenty-six mark. That's actually an interesting concept worth exploring, if you're into technical aspects of music compositions – studies in time signatures, hidden messages in song durations, and the like. It's all a little wanky to my sensibilities, but props to those who dedicate their skills to it. It's like a painter who uses difficult techniques creating a portrait that anyone with rudimentary ability could accomplish. Or maybe not, I dunno' - my knowledge of painting is pathetic. Oh, and I kinda' doubt the whole 'escalating track duration' thing was intentional on Lingua Lustra's part, since these pieces aren't perfectly trimmed to accommodate the concept. Just a curious coincidence.

And the music itself? Ruin is ultra-minimalist with electromagnetic drone, soft pulses, and emergent field recordings. Eden does the bright, layered synth pad drone thing. Source is practically devoid of sound, subtle bleepy electronics, impossibly distant pads, and gentle washes of white noise static leaving plenty of open spaces for a wandering mind. Fits the album theme, that's for sure.