Technical Itch - Progression Threat - Part One

Tech Itch Digital: 2013

A follow-up to Diagnostics. That's all we wanted. Relentless singles were nice an all, but another long-form outing from Technical Itch was what we craved. Even a consolidation of all those wayward EPs into a compilation would be dope. Just something longer than a two or three track release, feeding us those industrial-grade drums and basses. No, not those Digitally Ascended mini-albums, that's the wrong genre. Heck, the wrong scene, no matter how much d'n'b and dubstep were getting chummy. We was hungry for that darkstep dining, and wanted Technical Itch to keep feedin' us, and feedin' us, and feedin' us with full-course meals.

Ask (beg?), and you shall receive, Mark Caro giving us not one, not two, but three servings of Progression Threat. I wouldn't call these full-blown proper albums like Diagnostics, but at ten tracks each, is plenty 'nuff of the rough and rugged jungle business for folks that need their d'n'b fixes in larger than single-serving portions.

And yes, I'm not calling Progression Threat a proper-proper album roll-out on the same level as Diagnostics. If this were, in fact, a real-real album, there would have been a vinyl roll-out, maybe a box-set with CD option, the whole shebang. Yeah, yeah, the whole point of Tech Itch Digital was to release things primarily in a digital format, but even in ye' olde year of 2013, enough folks would divvy up dollars for hard copies, guaranteeing a return on a run of records. Anyhow...

I know Mr. Caro has flitted about other jungle styles over the years, but when opener Sun Eater, um, opens, I almost thought we'd be in for something on the atmospheric tip. Such a tranquil pad refrain, calm and floating, as though gazing upon Sol from afar. No, wait, here come some menacing overtones, a feral bassline, aggressive drums. Oh no! It's Unicron, come to eat the sun! I should have known better than to expect 'dolphin d'n'b' from an album with titles like Oblivion Survival, Soul Gritter, and Day Sleeper on it.

Jokes aside, this was definitely the Technical Itch, erm, itch that needed scratching after my dashed expectations following Digitally Ascended, Vol. 3. From there we get a nice variety of aggro thrashers (the aforementioned tunes; Code Weave), twitchy tech-steppers (Progress Trap, the titular cut), Led-heavy stompers (Someone Else), and... Gosh, is that a stab at Squarepusher jazz-fusion in My Being? Like, not quite so spastic cut-up as Jenkinson can go, and Mark does bring the beef later in the track, but still, a nice divergence from the norm.

And that's all there is to Progression Threat – Part One. Yeah, little need for deep analysis here. It's Mark Caro dropping nine tracks of what he does best, with one spicy outlier for flavour. Are the other Progression Threats the same? I don't know, I haven't heard them yet. For now, this was enough to sate my appetite. Besides, there's a full-course meal about to get served soon.

Dead Melodies - Primal Destination

Cryo Chamber: 2019

It's funny how circumstance can affect one's engagement with the music they consume. For sure we want suitable soundtracks to the events of our lives: rockin', high energy stuff for heading out on the town; chill, unobtrusive sounds for downtimes; smooth grooves for sexy shenanigans. When some feel glum and gloom, there's nothing like a little dark ambient to placate the mood. And four years ago, I was feelin' that dark ambient vibe indeed. Yeah, I'd been intrigued by the genre for a couple years prior, but after that happened... hoo boy. Possibly some of my most inspired prose was written during that period, regarding this particular style of music.

Yet things kinda' seem just a bit... better now? Not as good as they could or should be, oh no. Just... better. Makes me wonder whether dark ambient all-oppressive mood will be as relatable anymore, or will return to the 'conceptual escapism' status I previous held it as.

I haven't kept much tab on Dead Melodies since I last reviewed the project, but Tom Moore does remain active, especially in the year 2020. He's even gone a little noir with Zenjungle in Anthropocene, which I may pick up down the line, but for now, we're in high-concept territory in this album, Primal Destination.

In fact, we're getting in on a little sci-fi action here, if the miniscule spaceman in the cover art wasn't enough of an indication. I suppose the astrophysics patterns and and ancient stargate is a handy clue too. Or is this an inter-dimensional portal? This cover has me thinking space, but many of the track titles don't really suggest as such: Superdrone Descent, Pearlescent Dawn, Subterraformed, Glades. Gosh, now that I look at the figure on the cover harder, I wonder if that's even a spacesuit. Looks more like radiation garb, the sort of thing one might wear when traversing volcanic regions. No, don't go in there! Who knows what horrors you'll find! Dammit, why don't they listen when I'm screaming at them from my meatspace?

Primal Destination starts out relatively calm and tranquil in that cinematic drone sort of way, the first couple tracks lulling you into a sense of serenity. Third piece Pearlescent Dawn comes off more ominous though, as though your environment is growing more askew the further you travel. And while Glades may initially conjure images dewy, rolling hills of grass, there's nothing peaceful about Mr. Moore's use of field recordings here, the sort of sounds that will have you jumping at shadows from the periphery of your sight (damn you, Xtro!).

From there, it's the steady descent into, well, primal thoughts and instincts, your reptile brain getting all itchy and twitchy from the sounds Dead Melodies utilizes. Save some orchestral manipulations in Fields Of Sleep, it's not until final track The Wake Of Man does something resembling calm and rationality enter back into the discourse. Ah, the steadying breath of the wise man's brain in action.

The Higher Intelligence Agency - Preform

self-release: 2020

Bobby Bird's been a bit of a busy-body on Bandcamp this (b)last half-decade, slowly releasing his back-catalogue with upgraded fidelity. This has seen the availability of long out-of-print and rare items again, including his collaborations with Pete Namlook and Biosphere. There were a few, scattered HIA items from the project's earliest days that had yet to be re-issued though. I've covered some of these as they appeared on compilations, but others were exclusive to tapes of the original Oscillate shows. Basically a lot of very hard-to-get stuff for completists, unless one was willing to scour Discogs for them. I mean, it's not like these assorted early tracks were available on a tidy collection.

So Bobby gathered all these stray tunes into a tidy collection called Preform. Aw, now isn't that nice of him.

Three of the eight tracks included here, I already have: W.H.Y. (from Ambient Dub Vol. 2), Harmony Angel (from One A.D.), and Alphanex, which was the name of the short-lived pairing of Bird and Brian Duffy, for the one-off track Planet Hoskins on Ambient Dub, Vol. 1. Not sure why this change was made for this compilation, but whatever, it's great to have that in such spiffy remastered form. Seriously, d'at bass! HIA got its rep from being purveyors of bleepy dub, but back in the day, they squeezed some serious juice out of those low ends. Having a higher fidelity version of Why ain't such a bad thing either. Harmony Angel is fine, but was never one of my 'must hear' tracks on One A.D.

Two other 'compilation exclusive' tracks are on Preform, one of which any follower of the Artificial Intelligence series should know, Selenite. I... kinda' feel like I've heard variations on this track before. Then again, many of WHY's elements were re-purposed into the Colourform track Re-Echo, not to mention bits of Harmony Angel could be heard in Speedlearn. Hence this collection of tracks being called Preform, I guess.

Anyhow, the other compilation track is Genius Island, which appeared on one of those gargantuan charity-driven collections on Touched Music, a quite lovely, spaced-out slice of ambient techno dub (Spectral's chimes help). There's actually an earlier version that appeared on the tape Totally Ambient Groove Volume 2 – Live From Oscillate, but I assume this version was plucked instead since it already had a re-jiggering for a 2014 release.

Speaking of those tapes, the remaining three tracks on Preform all come those sessions, and yeah, these definitely sound like tunes intended for a live audience. Sub Oscillate 2 is little more than an acid techno workout with dub flourishes. Meanwhile, Alien Mind feeds of that ol' school HIA vibe of dancefloor efficiency while working all the pulpy, bleepy sci-fi sounds and samples you can indulge. Juju Love is sillier, though that twisting bleep noise sure harkens to the sort of leads weeaboo trap loves. Interesting curiosos for the HIA completist, but well removed from the minimalist electro-dub that'd mark Bird's later work.

Not The Revitalized Return I'd Hoped

Back to this year's monthly average, I guess.

Actually, I think I finally realized what's going on. Okay, I've known it for a while, sometimes even deadpanned about it, but for some reason, this month it became crystal clear just how much my ADHD is affecting me lately. I feel like I've always managed to balance all the little ideas and projects throughout my life reasonably well, such that one ongoing thing doesn't get side-tracked for some new flight of fancy. Not so much any more. If something snags my attention, I'll focus entirely on that, at least until something else snags my attention, and with *ALL THIS* going on in the year 2020, it's been all too easy to get continuously side-tracked.

And I really noticed it earlier in October, for a multitude of reasons I needn't get into here. Ultimately, I realized I didn't need to stress so much about not keeping up that writing pace I reconnected with back in the summer. It's okay to let some things sit fallow while other tasks take your time. It's... okay. It really, really is... okay. Or might it get worse as I grow older...?

I know there's drugs out there to help with ADHD and all, but I don't think this is at a crippling level yet. Sure, the apartment is messier than it should be, and pet projects take longer to complete. I still make it to work on time though, do all the things I must to carry on carrying. And who knows, maybe if this society we're living in can sort itself into some semblance of normalcy again, the mind won't feel like such a wayward wayfarer of constant distraction.

One can hope.

Skanfrom - Postcards

Suction Records: 2014

Do androids dream electric sheep? Well, I dunno about that, you'd have to ask hardcore Bladerunner fans for a definitive answer. Let's assume they do though. By that token, do androids dream of electric sheep out on British pastoral hillsides? Why would they dream of something so specific? Aren't dreams just weird, jumbled recollections of what we've done, with an added dash of what we want? Why would an android 'want' to do something so frivolous as take in the countryside, when all they're meant to do is all that they're meant to do? Could we even program an A.I. to do something like go on vacation? Not just create an itinerary and send it on its way, but to actually lollygag at the scenery, get side-tracked by random novelty, and distracted by whimsical flights of fancy.

I don't know if such notions were on Skanfrom's mind when creating this album, but Postcards sure feels like I'm watching some twee robot go on a euro road trip. It's all in that Kraftwerkian electro-pop vibe permeating throughout the album (shades of Autobahn and Europe Endless), sightseeing across quaint countrysides. Yet there's also something melancholic and lonesome here, as though this experimental automaton doesn't know what to make of its puzzling programming to wander about English lands. To say nothing of all the strange looks its receiving from the homo sapien crowds. Oh, to be back in the comforting confines of controlled labs, not out in the open, constantly bombarded by sensory stimuli, with no firm directive other than “to go forth”. Humanity is so puzzling.

I should touch upon who Skanfrom is. One Roger Semsroth (occasionally Stephan Metzger), the Skanfrom project started out in the late '90s as the sort of Rephlex-inspired electro-IDM you'd expect of a scene rediscovering electro. Mostly releasing stuff on his own A.D.S.R. print, a tidy retrospective was put out on Suction Records in their early years, after which Roger mothballed the name to pursue a lucrative venture into the realm of techno records. Okay, I don't know about 'lucrative', but as Sleeparchive, he had a pretty successful run making proper minimal techno (not that plink-plonk stuff), even getting a few items out on Tresor. Sleeparchive remains Mr. Semsroth's primary project, but on occasion he's dusted the mothballs off of Skanfrom for an EP or two. When Suction Records relaunched, ol' Rog' provided them with a fresh Skanfrom album as well, being this here Postcards. *whew* I think that's all caught up.

As said, this album is all about that sentimental electro-pop as performed on simple electronics. The 'pastoral English vacation' is heavily implied with track titles like Trains And Lines, Perseids Over Greenwich, British Cottages and Degrees Of Frost (chilly mornings on the moors, I wager), while others are reflective of supposed feelings of unfeeling entities (I Am Not Feeling Well, Lost And Lonesome, Are You Alone?). Scattered about are numerical tracks like Seven (track six), Six (track ten) and Aught (track five). Does... not... compute...

Lars Leonhard & Roman Ridder - Patterns In Nature

self-release: 2018

Hey now, don't give me that look. When I said Orange Dawn was the last of the Lars solo albums in my possession, I meant it! That did not include collaborative outings, but chronist to honest (?), this is the only one of such releases I have. Not that Mr. Leonhard has paired up often in the course of his career. There was Seasons – Les Quatre Saisons with Alvina Red on BineMusic, and the odd track here and there, but by and large, Lars does the bulk of his music making as a solo venture. So yes, no more loopholes for me to exploit in my original proclamation in covering Mr. Leonhard's output. Nope, none at all. What do you mean, you can smell clouds burning?

So the first thing I wondered over Patterns In Nature is what this Roman Ridder would add to the Leonhard stylee. Or would Mr. Ridder be the one leading the music charge with Lars in sonic support? What sort of music does Roman even make? I've never heard of him before, but there must be something in the cut of his jib if Lars was interested in working with him. Would I be able to pick out any songcraft traits? Gosh, I hope so! I've consumed so much of Lars' music that his sound is instantly recognizable to my ears. Any deviation from a contributing musician should stand out.

And there's definitely that in opener Prismatic. Like, holy cow, those sweeping pads! It's not like Lars has shied away from melody, but he's typically on a subtle tip when it comes to its deployment. Not so in this track, spacious spacey synths front and centre as they ride along a dubby techno groove. Simply lush. So is this the Roman Ridder stylee, big spacey ambient or prog-psy that wouldn't sound out of place on Altar Records? Let me check out some of his other stuff!

*checks out some of his other stuff*

Ah, hm, okay, apparently Mr. Ridder doesn't have much other stuff for me to check out, a handful of self-released albums and singles to his Discoggian name (ooh, is that an ode to The Planets I see?). And of what samples I hear, gosh does this ever sound like Lars. Maybe a little more melodic and upbeat, but generally in the same downtempo dub techno lane. I probably would have assumed it Mr. Leonhard's work with a blind test.

Going deeper into Patterns In Nature, the melding of minds is much less apparent, the two complementing quite well. There's still more overt melodic touches compared to the typical Lars release (Strange Attractor, Spherical Symmetry), while some tracks tread into pure ambient dub drone territory (Circadian Rhythm, Penta Plexity, Fractal), but that's the extent of it.

Still, Roman's extra melodic-dub touches do lend more warmth to the usual Leonhard fare. Patterns In Nature wouldn't sound out of place on Silent Season, is what I'm sayin'.

UNKLE - Psyence Fiction

Mo Wax: 1998

(a Patreon Request from Philoi)

Perhaps one of the most anticipated debut albums in the '90s trip-hop 'osphere. Heck, in all of 'electronica'? Okay, maybe not to that degree – I seem to recall endless hype for that long delayed Sasha album, but not so much this. That could just be my Canadian West Coast bias talking, only privy to the sort of hype that got imported my way. I feel, however, that while I knew plenty about DJ Shadow, DJ Krush, and Rob Dougan as the '90s wore on, I didn't know much about the label that supported them, much less the man behind it. Regardless of a teenaged Canuck's ignorance though, there had to be significant buzz surrounding James Lavelle's project.

Not just in seeing what the mind behind Mo' Wax could create. Lavelle had already released a couple UNKLE EPs earlier in the decade, so folks had an inkling of his production talents. Having cultivated such a roster though, plus creating so many high-profile connections within the music industry within that time, not to mention 'electronica' having enough crossover appeal that even the 'illustrious' rock world was taking an interest... Well, you can imagine Mr. Lavelle feeling just a tad over-whelmed by the pressure of producing nothing less than a magnum opus right out the gate. He almost got there too.

Psyence Fiction could have gone so very, terribly wrong, a potentially bloated album of over-stuffed musical ideas, all the while dependant on all-star collaborations in a show-off of Mr. Lavelle's super-awesome industry connections. Reading reviews from when this first dropped, that seems to be the impression too. And heck, had I heard this when it first came out, I'd probably also have thought as such. Thom Yorke? Jason Newsted of Metallica? The London Session Orchestra? Man, that just ain't propah underground t'ings, mate.

I didn't listen to this when it was new though. Heck, I've hadn't heard this album in full until now, for the purpose of review. There's been two decades worth of actual 'overblown industry records' in that time, many of which are of far less quality than what's offered on Psyence Fiction. Absolutely there remain a few instances of Lavelle doing more than was necessary – anything with the orchestra, really – but when these tracks slap, they slap hard!

We can thank DJ Shadow's contributions for keeping things level-headed, basically Lavelle's right-hand man in this project. Whatever wild idea James throws out, there's always a steady, rugged, scratch-happy rhythmic rudder holding it together. Rock freak outs (Nursery Rhyme / Breather)? No problem. Ol' school b-boy rappin' with Kool G Rap (Guns Blazing (Drums Of Death Part 1)) or Mike D (The Knock (Drums Of Death Part 2))? Right on! Cinematic electro (Celestial Annihilation)? Okay, getting a little opulent there, but cool. Desolate folk ditties (Chaos)? Straying kinda' far now, aren't we? Moody warbling with sluggish downtempo beats and psychedelic sampling (Bloodstain, Lonely Soul, Rabbit In Your Headlights)? What is this, a trip-hop album?

Sphäre Sechs - Particle Void

Cryo Chamber: 2018

Seems I'm once again on a little space theme run with the current clutch of reviews, which wouldn't be complete without the good ol' dark ambient contingent cropping up for their say. You can't talk space music without bringing up the potential bleakness of it all. Yeah, it's nice to be awestruck by nebulae beauty and mesmerized by astrophysics ballet, but there's a whole lot of nothing out there too. Empty, soul-crushing desolation, wondrous worlds impossibly far and distant, such that there's no hope of ever seeing them up close and personal. Never mind even attempting to get there would involve navigating among molecule-shredding radiation and Cthulhu knows what in the form of exotica erupting from mega death black holes. No hope, no hope at all.

Sphäre Sechs is the work of two chaps, Martin Stürtzer and Christian Stritzel (sounds like a German comedy duo). Martin has been quite active in dark ambient circles for a decade and a half now, primarily releasing material under the alias of Phelios. Much of it is of the droning sort, with occasional modern classical flourishes here and there, of various themes and ideas explored. More recently he's been releasing material under his own name under his own Echo Elberfeld label. Ooh, I spy something called The Omarion Nebula (only DS9 dorks will get that).

Mr. Stritzel has far less Discoggian presence, only appearing in collaboration with Mr. Stürtzer, a modified Theremin his primary 'instrument' in the group. The duo goes as far back as 2007's Klang Ist Ewig, but half a decade later, they adopted the Sphäre Sechs project handle, releasing Tiefschlaf on Malignant Records. Fast forward a little later, and they've brought their cosmic soundscapes to Cryo Chamber, debuting on the label with this here Particle Void. Tale as old as time.

As an album, Particle Void is straight-forward enough. Eight tracks, most hovering in the five-to-six minute range, offering varying tones of drone while holding a general mood of cosmic emptiness. While a low thrum is maintained throughout each piece, droning sounds and pads ebb and flow as though in a trance-inducing meditative breath. Sometimes there's a sense of awe in the surroundings, as in Multiverse and Transference. Other times abject fear, as though bearing witness to it all is simply too much for the human brain to handle (Temporal Transition, Achernar). And gosh, is that a touch of the melancholy I hear in Cepheid? Sadness at forever being trapped in our corporeal forms, unable to traverse into theoretical inter-dimensional portals without our atoms getting speghettified across the cosmos? Or maybe that's what's going on in final track Radiation Phase, a slowly building drone piece that includes the subtlest of rhythmic pulses.

By the way, where's the Theremin? I don't hear anything on this album that reminds me of pulpy sci-fi of the '50s. Is Christian's manipulations of the quirky electronic instrument so extreme that it sound alien to that which we know? Seems about right for an album like this.

Vector Lovers - Pale Blue Star EP

self-released: 2017

Martin Wheeler is... back? Wait, when did that happen? I saw no big promotion for new singles, not even drive-by blurbs when I was diving into Soma Quality Recordings a couple years ago. Then again, it's not like his iPhonica album got a tonne of attention either. Indeed, I only knew he'd released that record when I was browsing about the Vector Lovers Discogs page. So it was again, with his latest album – or rather, soundtrack – but I'll get to that in due time. What I discovered, however, is it was self-released, which naturally led me to give a slap of the head, realizing in all this time, I never bothered to check if there was a Vector Lovers Bandcamp page.

There certainly is, and it looks like Mr. Wheeler's kept himself active even if Soma or any label isn't supporting his stuff anymore. Not super-busy or anything, about an EP a year since iPhonica, but it's enough to keep the Vector Lovers name out there for those who can't get enough of that sentimental electro stylee. If he's even still doing that. When I looked at some of these singles, I couldn't help but wonder if he's moved on from the anime influences and into more proper sci-fi, and maybe even some synthwave. While the Vector Lovers sound was never exactly '80s retro, it wouldn't take much to make that leap, should Martin fancy himself such a step.

So Pale Blue Star is the first EP I'm digging into here. And yes, it's 'pale blue star', not 'dot'. I know you keep seeing 'dot' in that title, keep hearing 'dot' in your mind (probably in a Carl Sagan voice) but your brain is lying to you. For one thing, that dot you see in the cover art is actually the sun as seen from the surface of Mars. As for the blue, that has to do with the Red Planet's thin atmosphere, where- ah, whoops, getting all astronomy geeky in here again. Just remember that it's 'pale blue star' in the title, not 'dot'.

As for the music, it's definitely more upbeat than a lot of Vector Lovers' album orientated tunes, but then his EPs have typically been aimed for the dancefloor. Not that the titular opener will have you bustin' your sickest moves or anything, an incredibly atmospheric slice of... prog, I guess? I'd technically call this EP a tech-house one, but man, if Pale Blue Star doesn't have you floating out among the stars (or dusty alien skies), I really don't know what else to say? There is a slight undercurrent of post-apocalyptic desolation here, rather like the vibe of his Afterglow album (or Boards Of Canada's Tomorrow's Harvest, if you must), but in that traditional, melancholic Vector Lovers way.

The remaining tracks play out in similar fashion, with Alphaville switching things up with a broken beat, and Android Nightlife getting more on that robo-boogie vibe. Good stuff, all round.

Lars Leonhard - Orange Dawn

self-release: 2016

I know, I know. No, really, I know! “Lars Leonhard again!?” you cry, but c'mon, it's been a whole two months since we last saw the dub techno producer 'round these here parts. That should be plenty of time for his sound to drift from your memory membranes for another dive into the his spacious downtempo delights. And lo', I do believe this is the last of his solo albums within my collection. He has released another four since I was sent this big ol' bundle of CDs, but yeah, even I admit I'm quite well sated on his music for the time being. Maybe in another half-decade, I'll dive back in to catch up.

Of all the post-BineMusic records Lars released, this one always caught my eye. How could it not, what with its fiery fibre-optics glowing like, well, the self-explanatory title? Such cover-art alone is usually enough to entice me with a blind purchase, so Orange Dawn likely would have ended up in my grasp one way or another. Maybe shortly after I got Interstellar. Having gotten it the way I did though, it put this album in a completely different perspective, in that in the former method I wouldn't have already consumed so much of Mr. Leonhard's other releases to the point they started blending together. Does Orange Dawn have much hope of standing out from the crowd now?

The track Aurora sure does, in that I swear I've heard this slice of dubby space techno somewhere before. No, not one of those N.A.S.A. videos of our star in action, though given the general theme of Orange Dawn has much to do with the effects of solar light upon our orbiting rock, I'm surprised this album hasn't been tapped for such soundtrack consideration. Then again, he was commissioned for an proper full soundtrack of a recent film (Solar Observer for A Decade Of Sun), so perhaps it's a moot point. Maybe a fan-film of Sol, then? Where was I? Oh yeah, Aurora. Like I said, I swear I've heard this slice of dubby space techno somewhere before, but Lord Discogs claims Orange Dawn is its lone home. Maybe it reminds me of another Lars track from another album.

Anyhow, this does most of the things I've come to expect of a Lars album. The dubbed-out synth tones, the thick rhythms, the warm textures contrasting with the sharp sounds. Some tracks provide a steady techno pulse, while others a languid downtempo groove. The final track Polar Night is almost an entirely ambient affair (if you don't count soft background patters and gentle arps as 'rhythm'), and at over ten minutes in length, among the longest tracks Lars has ever released.

No, seriously! His average track length is usually in the six-to-eight minute range, and Lars is astoundingly consistent in this, almost never breaking double-digits. While I doubt he has much inclination to do an LP-length dronescape, it would be interesting to hear him indulge 'beyond the ten' more often.