Ylid - Transcend!

Unknown Tone Records: 2014

I kept getting this album and Le Moors' Tendrils mixed up, and not just because they're side-by-side in my current queue, nor because they're both items from Unknown Tone Records. It's the cover art, see, with that muted beige-yellow border, and a blue-something in the middle. Having absolutely no prior knowledge of who either act were, they naturally meshed into my mind as a singular entity, for so long leading me to believe Ylid was Le Moors, and Transcend! was Tendrils. In fact, the only way any of this stood out to me as something distinct from the other is when my new Sony Walkman MP3 player would oddly default first to the Ylid album whenever I plugged it into whatever car I was renting for this past summer's road trips. And boy howdy did it ever leave an impression with that Chant track being the kick off. Ain't nothing like hearing heavily synthy 'aahh's just as you're about to hit the open road, believe you me. Who knew Ylid was a fan of Skin To Skin?

Anyhow, it seems we're back to the outright obscure material again, very little information available regarding Ylid via my usual Discoggian means. One Robert Lyon, he released some half-dozen mini-albums and EPs throughout the mid-'00s, then disappeared for a spell before reappearing out of the blue with this album for Unknown Tone. The only connection I can find between these two periods of Robert's music-making career is Tim Martin, whom he worked with as the short-lived project Somme. Tim Martin's career has been more fruitful, especially as Maps & Diagrams, which led him to Unknown Tone along the way (among other labels I've name-dropped in the past). That good will likely helped give Somme some in with Unknown Tone, after which Robert got to dust off his Ylid project for the label as well. So it does all tie together, guy, but boy, are these ever tenuous strings used.

That's a huge chunk of word count burned getting through particulars, which always means I don't have much to say regarding the actual music within Transcend! It's quite clear Ylid comes from the indie side of things, the Kid A influences dripping throughout the album. Sparse electric and acoustic guitar plucking, fizzy-poppy glitchy treatments, overlaying ambient drone tones, abstract twee electronics, all presented in a sketch-book sort of manner. It's clear Mr. Lyon has lots of little ideas for minimalist compositions, but isn't sure how to present them as a cohesive whole, so here they all are as emerged straight from his brain matter.

For sure there are a few that grab my attention. Thames has a peppy, dreamy pulse going for it, while tracks like Volume Of Air, Overhead and Death Thoughts do the thick, layered reverb ambience nicely. Can't say much else does it for me though, but hey, if you prefer your experimental music from a post-rock angle, this may come off better.

Le Moors - Tendrils

Unknown Tone Records: 2016

Finally, an obscure ambient act I'm coming across for the first time where I'm not drawing an utter blank. Not to say I'm an expert on Le Moors. Really, hardly anyone could be, the duo having released just this one album, plus a single-track EP a few years prior. One of the players involved though, I've crossed paths with him before, if only barely. One Wil Bolton contributed to the Lee Norris conglomerate project The Angling Loser, and has thus also worked specifically with Lee as Orphic Signals and The Ashes Of Piemonte. He's also released a solo album on ...txt. Dronarivm too, not to mention most recently on Databloem, because everyone is releasing music on Databloem these days. Seriously, what is it with that label as of late?

Really, Bolton's been quite the busy-body over the past decade, with nearly twenty albums to his name, and several more collaborative works along the way. Less so is the other half of Le Moors, Jeff Stonehouse, though not by a great deal. His primary project was Listening Mirror with Kate Tustain – even releasing an album on Dronarivm during its time – but seems to have settled into more of a producer-collaborative role now, making use of sound manipulations and the like. Oh, and Lord Discogs ties him to '90s psy-trance act Spiralhead, but I've a hard time believing that's the same dude. You're telling me Jeff made a few goa records way back, disappeared for over a decade, then re-emerged making ambient-drone? Ah, well, I suppose there's been odder musical tracks. Tijs Verwest started out with gabber, after all.

The concept behind Tendrils is straight-forward enough: calming, soothing ambient layers with reverb tones stretched out to the infinite recesses of your listening space. Ooh, what I wouldn't give to hear some of this in a big open field, but my Sennheiser HD650s suffice in a pinch. Most of these sounds are initiated by guitars strings lazily plucking an improvised ditty, with the aforementioned sound manipulations contorting them into something quite relaxing and tranquil. If I may get my old-school name-drops on, it most reminds me of Vangelis' sublime composition of pre-ambient dronescaping, Creation Du Monde. I can imagine a piece like Precarious Brilliance or The Play Of Angels working just as well with imagery of cosmic splendour with Carl Sagan narrating overtop.

And that's about all there is to say about Tendrils. It's only seven tracks long, most averaging around the six-to-seven minute mark, which is a tad on the short side where this sort of music is concerned. Then again, at least they don't unnecessarily dawdle on their effects either. There isn't much variety in sounds though, maybe Cutlasses And Carbines going more sparse and minimal with its elongated guitar tones compared to the rest of the album. Then there's the final titular track, with its nine minutes of isolated piano and atonal drone. A surprisingly ominous closing, given how benign the rest of Tendrils was.

Crystal Moon - Temple

Kinetix/...txt: 1997/2018

Maybe I shouldn't be surprised by a release like this on ...txt. I mean, Ishq has released tons of material on the label, and that dude's flirted with the realms of New Age for as long as he's been making music. Still, for a print that's more known for the trendier, critically-approved ambient techno side of things, I remain mildly flumoxed by releases like this. That didn't keep me from nabbing a copy sight-unheard though, because dang, is that ever a lovely spot of cover art.

Thus, imagine my surprise when I finally checked out the details behind Crystal Moon, revealing it to be the tenth-dozen side-project of one Jake Stephenson. You might remember me name-dropping him with regards to such acts like Shamanoic Tribes On Acid, Mekhala, Alien Mutation, Dr. Psychedelic, Psychoheads, The Pots Heads, Super Skunk, Ganja Beats, and White Star. All those names appeared on just two compilations! So, not only has one of psy-trance's busiest bodies of the '90s revealed yet another alias I was unaware of (really, who could keep up?), but is now also featured with a reissue on ...txt? Oh yeah, Temple originally came out way back in 1997, which was consolidation into a 4CD collection called The Dawn Of A New Age released by Jumpin' & Pumpin' (yeah, FSOL's old homestead). That one isn't all Jake Stephenson, though it wouldn't have surprised me if it was. And how Lee Norris not only came into contact with this particular release, but saw fit to give it a spiffy CD reissue, it, well, as I said, gives the ol' noggin' a case of the mild flumoxing.

Actually, the connection was made incredibly clear when I noticed Matt Hillier was also part of Crystal Moon. You probably know him by his most productive alias of Ishq, but this was before he adopted the moniker. Yes, like Jake, Matt spent a chunk of the late '90s churning out psy-trance under multiple aliases, even getting a spot on one of those middling Psychedelic Flashbacks 4CD compilations from Rumour Records. Early trials, folks.

Temple is about as you'd expect from a pair of psy-trance chaps making ambient-leaning New Age music. It's just trippy enough such that it doesn't come off as schmaltzy as New Age so often can, but doesn't go so deep into the psychedelic hole that it would chase away all the hippie grandmothers looking for a little extra backing music to their meditation sessions.

Oh, does it ever flirt close to crossing that threshold though – there's more than enough samples of running water, twinkling bells, chirping birds, woodwinds, and all the like. Anytime it feels like we're about to go there though, the production gets a little twisted, a little dubbier, more abstract in the true sense of ambient. It's a delicate balance, but Jake and Matt walk that tightrope ever so skillfully. 'Tis not an easy one to traverse with intent, my friends.

Various - A Taste Of Kandi Summer 2007

Hed Kandi: 2007

It's generally agreed upon Hed Kandi's decline occurred when Ministry Of Sound bought the brand in 2006. That doesn't mean it happened all at once, I'm sure a few decent selections coming out before that decade came to a close. Ah, this looks promising enough, a tidy, single-disc sampler mix highlighting peppy, summery house jams, and but a scant couple years after the Ministry buy-in. Surely this will prove it wasn't all rubbish immediately after.

And you know you're in good hands when a set opens up with Miguel Migs. He's one of those producers where you know what you're gonna' get, so if you've already gotten his stuff, there's no rush to get more so long as you're sated on what you got. That don't mean he's a welcome addition to any collection of house music though. Migs sets the tone for a large chunk of the opening: soulful disco house that brings to mind glitzy clubs serving glitzy people drinking glitzy drinks. Nothing revolutionary, but it doesn't need to be, music knowing exactly what its purpose is. No one's getting a Hed Kandi mix for intuitive underground sounds; sometimes you just need a quick fix of vanilla sundae with rainbow sprinkles.

A run of big disco anthems ups the tempo some, featuring tunes from the likes of Frank Ti-Aya, Justin Michael, Asbo, with guest vocalists ranging from Katherine Ellis, Jocelyn Brown, and Yardi Don, plus remixes from Soul Avengerz, Born To Funk, Deep Groovers, and House Brothers. Uh, sorry, but I'm drawing blanks on these names. Punters and DJs well entrenched in the Hed Kandi brand are probably familiar with them, but many of these appear like factory productions, churning out fodder for the DJ pools to be rinsed out for a season, then tossed off in favour for another round a few months later. So it always goes in clubland, I guess. The tunes are all fine for the time they're playing, but they don't really stand out from the disco house glut either.

Then Eddie Thoneick throws down a remix towards the final stretch, and you can always tell it's an Eddie Thoneick remix because few did big, punchy electro-house anthems like that chap did in the mid-'00s. Following that is a... cover? Of Big Fun? The artist credit goes to D.O.N.S., with a remix done by Beaver & Jones, but aside from giving the classic Detroit anthem some (then) current production punch, isn't much different from the original. Oh well, at least Steve Mac's rub on Bryon Stingily's Get Up (Everybody) is a fun disco anthem to end things on.

But then the mix has to keep going and let The Creeps from Freaks literally fart all over everything. Ugh, that was already a lame-ass flatulent tune jock-riding the Satisfaction craze when it was new, and it sounds utterly shite among so much upbeat disco action. Forget the last track's tribal-drum action, The Creeps ruined everything with its odoriferous stank rubbing on the CD.

ACE TRACKS: August 2019

Yeah, that happened. Got a lot more attention than expected too. Sure, we knew many were anticipating it in select circles of the interweb, and might even get a few shares on third string 'EDM' news outlets. Heck, even DJMag sharing it didn't phase me, though I couldn't help but feel a little amused in their praise, despite the drubbing we've given them over the years (probably because even they know they deserve it for how their popularity poll's perverted a once pure scene). Nay, the only share (thus far) that's given me pause was Billboard's.

Wait, the Billboard, as in the conglomerate that tracks music sales? How did they come across the Guide? Hell, for that matter, how were they even aware of the original, must less feel this was a newsworthy event for them to share? For sure, this was a major undertaking that took years to complete, and we're mighty proud of the resulting effort, but surely it isn't such a big deal that we're getting blurbs in a media outlet who's sole role is continuous hype of mainstream success. Wonders never cease. Nor do ACE TRACK playlists, so here's August 2019!


Full track list here.


MISSING ALBUMS:
Josh Christie - Stuck On A Space Trip
Anduin - Stolen Years
The Gentle People - Soundtracks For Living
Ken Ishii - Sleeping Madness
Kwook - Skywave
Speedy J - Ginger

Percentage Of Hip-Hop: 11%
Percentage Of Rock: 11%
Most “WTF?” Track: Anything from The Gentle People, when you realize it was released on Rephlex.

Never a good thing for these playlists when nearly half the albums aren't on Spotify. Some I can understand, being so utterly obscure and all, but Speedy J? Ken Ishii? The Gentle People?? How are those records from them not on there? Weirdly, the remix album of Soundtracks For Living is, but probably because there's a lot of Very Important IDM and techno artists doing remixes there, so are likely of higher interest for those wandering in. And I shouldn't worry much about what currently is or isn't on Spotify, as plenty do eventually find their way there. Why, I just discovered Felix Da Houscat's back catalogue is now available. Sweet, I can finally see if all those post Devin Dazzle albums were as bad as the critics made them out to be! (oh, and Tool too, I guess)

Josh Christie - Stuck On A Space Trip

self release: 2018

So this Josh Christie chap approaches me on Twitter, as the platform is want to allow, and asks me if I'd be interested in reviewing one of his albums. Sure, thinks I, I'm always down for taking in extra tuneage for my queue. Send it my way and, oh, it's only available Bandcamp. Well, I'm not so anal on digital-only releases anymore, though this does put me in a slight pickle. Not so much a 'hey, can you review a copy of my album that I send you?' request, as 'hey, can you review my album after you buy it on Bandcamp?' Seems highly irregular for this sort of thing, but eh, I've paid money for lesser works. Besides, if I cannot keep my word, then what word I offer is any good? No, if I say I'm gonna' do something, whether it's reviewing someone's music or seeing a guide to completion, then by g'ar, I'll do it, no matter how long it takes, no matter the cost.

Don't bother looking for this Josh Christie within Lord Discogs' massive tome of data. A search there instead brings up acts like Christie Front Drive ('90s indie rock) and Josh Groban (modern day crooner). Naturally, the album I decided upon reviewing, Stuck On A Space Trip, is also a total blank, though when I typed up “Josh Christie Stuck On A”, the lone result I got was ...Insane Clown Posse's third album Riddle Box? Uh, well, they both have a stark black background with a green icon on the front. I suppose I could just ask the Tampa chap other details, but judging from the music on this album, it's pretty clear where his inspirations lay.

Space is definitely the place, but so are the British raves of the early '90s, with loving homages to the primitive dance beats and cheeky sci-fi sampling ever so prevalent of the era. In fact, Stuck On A Space Trip almost feels too lovingly replicant of that music, and I'm not just talking about opening things up with the sounds of a train taking off. From more obvious nods to The Orb (Dawn Of Emptiness, Sunny Vibrations), The KLF (The Autocratic Machine), and Shut Up And Dance (Chemical Weapons), to a general vibe not too dissimilar to Orbital and Earthbeat (aka: FSOL's early works) permeate much of the album. And I'm not sure if this is a good or a bad thing.

Yeah, I like me some vintage UK acid house sounds, but where does homage end and blatant lift begin? These sound so much of that time, you could probably convince clueless folks they were unearthed artifacts. It's like, if bleep-acid-ambient-techno-rave could become a synthwave-styled genre – music not only inspired by an era, but highly romanticized into something it never actually was - then this is probably what it would sound like. Why doesn't that happened more often, I wonder? UK acid raves too narrow a cultural niche compared to the omnipresence of The '80s?

Anduin - Stolen Years

SMTG Limited: 2012

When I saw this in an online shop, I knew I had to get it sight-unheard. That cardboard border, the artful picture, the unrecognizable musician with post-rock ties... it must be a new Slaapwel Records release! Never mind the label's only released one (1) new item in the two years I first discovered them.

But nay, 'tis not an unearthed Slaapwel Records album. That there's a whopping eight tracks is proof alone, much less the fact they all average around four to six minutes in length. It is an interesting item I've stumbled upon though, and once again I have nothing but my over-eager, hunter-gatherer purchasing instinct to thank for it. Seldom have I been led astray by such impulsive actions, and it was nice of Anduin to keep the faith alive a little longer.

Not to be confused with the Matthew Dear project Audion – because I know your brain has been doing that from the moment you saw the header – Anduin is the brainchild of Jonathan Lee, a chap who's floated about various rock bands these past couple decades. Some were punk, some were post, and some were whatever eclectic ideas were flowing freely in a given jam session. This naturally led Mr. Lee to explore the instrumental, abstract side of his muse, giving rise to Anduin, a project that lasted about half a decade, seemingly mothballed since 2015. Stolen Years was the last full-length record released under the guise.

With absolutely no idea of what to expect going in, I wasn't even sure I'd ended up with a 'music' record as Behind The Voyeur's Wall Of Glass started. So quiet, so subdued, and are those sounds of children playing coming from the track, or the park across from my apartment? Also, someone get WD-40 on that squeaky door stat, why don't ya'? A moody synth tone burbles in and out, a kick that sounds like someone bouncing a basketball emerges, and a lonely saxophone jam adds a creaky blues vibe. It's all rather bleak, but in a melancholic sort of way, like reflecting on one's decrepit life from the confines of a weathered, abandoned flat.

Much of Stolen Years plays out like that: prominent looping field recordings placing you within a vivid setting (so much dirt and grit), sinewy synth pads crafting lonesome moods and tones, and collaborator Jimmy Graphery providing saxophone or flute solos adding human soul to the proceedings. Only final track Irene breaks the mould, shooting for an opulent wall-of-sound ambient outing for closure.

What I find so interesting about Stolen Years is despite the rather simple elements in play, it's extremely difficult pinpointing exactly what kind of music this is. The closest comparison I can come up with is the dark ambient jazz of Phonothek, but not so oppressive and bleak as that duo goes. Stolen Years feels much too intimate to be dark ambient, yet not so lost up its rectum to be jazz. A curious, addictive one, this.

Steven Rutter & John Shima - Step Into The Light

FireScope: 2018

Jason McCreadie has already been responsible for some of the pulpier pieces of cover art in FireScope's catalogue, but he done taken the cake here, my friends. Anime fairy girls, in my retro ambient bleep techno? Why I never, could ever, make clever, said Trevor, in this endeavour, forever.

Sorry, I think my mind went and a'sploded again. It simply cannot comprehend what it is seeing here. Like, what even is going on? Some sort of alien invasion? A battle between heaven and hell? A weird interpretation of what happens when our blood trades carbon dioxide for oxygen within our lungs? I mean, those big red pods could be red blood cells, which would make, the fairies, what? Hormonal chemicals? Bodily defences? What's even crazier is this art is in fact double-sided, carrying over to the flip of the package. Naturally, the anime fairy girl there has white hair and wings, because gotta' have those contrasts.

Step Into The Light marked another step in FireScope's expanding, erm, scope, in that it was the first collaborative outing among its roster of producers. Because even if the classic B12 line-up is no more, that doesn't mean Mr. Rutter couldn't team up with all these cats clearly inspired by the music he and Golding were making so many years past. Thus it's only appropriate that the first of these pairings would include John Shima, the first outside the B12 wheel-house to make his mark on the label. Broken Spell opens things up with that distinct crisp electro rhythm and mellow melody many a FireScope EP features, eventually giving shine to a light plucky lead that reminds me of ancient Alter Ego. Skywards does the deeper business, mostly letting the rhythms do the work with subdued backing synth pads lending an ominous tone to the track. A New Day is more of a straight-forward ambient techno tune with vintage bleep action, while Disjointed Route slows things down to a groovier pace with a bell-tone bassline that has my Biosphere sensors triggered. How all this relates to anime fairy girls tripping the light fantastic has me though.

Sorry, I know I shouldn't keep coming back to it, but this cover art fascinates me. It's just not something you'd ever see in techno, no matter which vein you follow in that scene. The cartooniest it ever got was with its nods to pulp sci-fi, and that was quickly jettisoned when it was declared techno, in all its forms, must remain Serious Business. Heck, even Ken Ishii only flirted with anime once, and had it been anyone other than Koji Morimoto doing the art, probably wouldn't have happened. Meanwhile, the 'loligirl' look was soon adopted by happy hardcore and other infantile music scenes, removing the style completely and utterly from techno's domain forever after.

Not that I wouldn't mind seeing more of this art in techno, that scene's iconography too often staid and monochrome. It needs more primary colours and light, but I guess it's just not good for business.

Daniel Pemberton - Space Dive

fsoldigital.com: 2012

I should have expected this, but for some reason, upon seeing the cover art, an alternate version of Space Dive lodged itself into my brain, leading me to believe that was what I was gonna' hear. One of pure conceptual space-age ambient noodling, like AstroPilot's Solar Walk series, filled with actual radio chatter samples between Felix Baumgartner and Red Bull ground control. That it came out on The Future Sound Of London's digital label, the last place I'd expect to find a National Geographic documentary soundtrack, is my only excuse for coming to such a premature conclusion. How did this end up on fsoldigital anyhow?

Easy answer, that. Daniel Pemberton often works with Brian Dougans and Garry Cobain, especially contributing to their Environments series. I'm not sure how far back their collaborations officially goes – at least The Isness - but it's possible Daniel was hanging around the FSOL boys since even the Dead Cities period. Thus, it makes sense they'd let him use their label for releases slightly outside traditional chains. Oh, and Pemberton made his (teenaged!) debut on Fax +49-69/450464, which means that, yes, he too was included in the inimitable, ineluctable Die Welt Ist Klang Pete Namlook tribute box-set. Just throwing that out there.

But yes, Daniel's career arc this century has primarily been in the realm of score work, starting out doing TV spots and documentaries before getting the nod for major movies. What movies, you ask? Oh, just a little critical darling called Spider-Man: Into The Spider-Verse, to name one. Also, um, King Arthur: Legend Of The Sword. Still, a resume that includes Steve Jobs and Ocean's 8 ain't too shabby. Dude knows his way around providing audio stimuli for visual entertainment, is what I'm saying.

And I can only assume his work for Space Dive is exemplary of a one hour documentary covering Felix's freefall from the outer reaches of our atmosphere because, um, I haven't seen it. I tried to find it, but it's not on Amazon Prime (.ca), not on YouTube, and I don't really care enough about it to drop paywall money to see it (sorry, Nat Geo). I'm sure it's like most modern documentaries anyway: a lot of dawdling and faux-tension building leading up to the main event, presented after seven commercial breaks. I remember the live stream just fine, thanks.

Musically, Space Dive sounds like most modern documentary scores as well, with the subdued orchestras and pounding percussion sections (he's Going Supersonic, yo'!), light synth touches, and such as. Little of it leaps out as distinct pieces of music, which is exactly what you should want in a soundtrack like this. I can say, despite having no visual accompaniment, a few pieces do a good job of making me feel connected to the emotions Felix must have been going through (Freefall, To The Edge Of Space, The Jump). I still can't recommend Space Dive for anyone other than Daniel Pemberton completists though. Surely there's a few out there.

The Gentle People - Soundtracks For Living

Rephlex: 1997

Acts like AIR, Groove Armada, and Röyksopp were highly instrumental in turning the chill-out scene into a radio-friendly commercial juggernaut, but did they really start it all? Okay, yes, but one group was making ultra-retro psychedelic lounge-pop just a smidge before those names broke out. The fact they came out on Rephlex, however, had everyone scratching their heads whether it was all a put-on. Like, really? The label that Aphex Twin started would release something like the Journey single? Hell, not just release it, but give it a remix too! Mr. D. James' rub on Journey must be among his most bizarre creations, in that it's just so... normal.

Answering the question of “What would happen if The Human League and The B-52s took LSD, Quaaludes, and time-travelled to the '60s?”, The Gentle People were an odd quartet even without the Rephlex bump. Whether or not their glassy-eyed gaze into retro psychedelia was a put on, they seemed so sincere that you couldn't help but fall sway to their pulpy charms. You wanted to indulge in their fondue parties while lounging about bubble chairs and shag drapery.

Theirs was musical escapism from a music scene already rather removed from modern norms. The only place left to go was where the establishment had already been, re-purposing it for their own use. Retro trends in a nutshell, really. Still, it boggles the mind that Rephlex would be the first to get hep to such a potential market, even if they never followed it up with musical acts of similar ilk. All others got signed to big Virgin money, probably.

So I've already mentioned Journey as it appeared in Ambient Ibiza, both the most obvious and least obvious sort of compilation The Gentle People to appear on (future Braindance collections from Rephlex too). The rest of Soundtracks For Living generally follows that dubby, trippy, lounge-pop vibe with various degrees of psychedelia. Some tracks use big orchestral swells to oversell the sentiments (World Of Love, Emotion Heater, Relaxation Central). Others get more intimate with mushy lyrics and jazzy solos (Laurie's Theme, Le Tunnel De L'Amour, Tiki Mix).

Then there are the tunes that almost remind you that Soundtracks For Living indeed does have raver roots, however tenuous they appear on the surface. Dream warps a hazy slice of dubby ambience through the lens of a '60s Euro-art flic. Travel Bug is so bassy and spacey and groovy you'd expect Kruder & Dorfmeister to show up on the swirly-coloured couches for a jam. Meanwhile, many of the final tracks aren't too sonically dissimilar to The Orb's antics, or if The KLF had been inspired by British mod fashions rather than American outbacks and Elvis.

Soundtracks For Living can appear shallow and hollow at first ear-glance, no doubt. Heck, I thought it would be going in. The more I listened though, the more I found sucked into a surprisingly deep, warm bowl of delicious fondue cheese. Laced with sunshine acid. The Journey video ain't no joke.