Pale Glow - In Dreams Awake

Neotantra: 2021

Another Neotantra release so soon after the last one? What is this, April of 2021 all over again? Well, this one came out in July of 2021, whereas Martin Allin's album came out in February of 2021, which means... absolutely nothing, if we're being honest. It's just a weird coincidence that the label would put out two albums mere months apart both having titles beginning with the letter “I”, and that I'd be reviewing them mere days apart a year later.

Heck, it wouldn't have surprised me if they were both titled “In [something]”. The world of music loves leading off with the word “In”. Take a gander at some within my own collection: In Blue, In Dub, In Stereo, In Utero, In-Between Spaces, In The Silence Of The Subconscious, In The Rain, In The Noise. And let's not forget all those In Trance We Trust and In Search Of Sunrise mix CDs, to say nothing about the endless amount of words that start with the letters I and N. It's a very, very, very common digraph within the English language, is what I'm saying.

Anyhow, if you remember my previous Neotantra review of so many hours ago, the reason I'm blathering on about silly nonsense rather actual reviewing is because I'm once again confronted with an artist with barely any available information. Total blank with Lord Discogs, a couple Neotantra compilation contributions, plus a self-release on Bandcamp of select tracks from this particular release. At least Mr. Allin had an actual name I could sleuth about a little with, Pale Glow not even providing that. There was a smidgen more with Bandcamp though, which led to a Facebook page with a dash of additional info, but no names or history I could find. Huh, contact Pale Glow directly? What do I look like, a music journalist?

At a glance, Pale Glow seems to come from the shoegazey side of ambient music, as the nine tracks offered on In Dreams Awake are titled in that long, cumbersome way shoegaze artists love. Every Moment Is A Beginning. Perceiving Imperceptible Things. Waking Is A Prelude To A Dream. The Sunlight Clasps The Earth And The Moonbeams Kiss The Sea. Hold Infinity In The Palm Of Your Hand And Eternity In An Hour. A Reflection Of Nature.

The music's a little shoegazey too, in that radiant dawn, twee feeling one gets with the more chill aspects of that scene. Synth pads are delicate, bell tones twinkle like morning dew, rhythms barely a pitter-patter, while the tone remains exceptionally mellow and sun-kissed bliss. Is it just me though, or is every track in the same key? Doing a quick skip through sure makes it sound so. Was In Dreams Awake originally conceived as a singular piece? Despite track breaks, it does come off like one long track, so tonally consistent throughout as it is. Now imagine this album being presented as such, but also retaining the entire 66-word track list as the title too!

The Bug ft. Dis Fig - In Blue

Hyperdub: 2020

“New Bug, who Dis?”

Sorry, sorry, couldn't resist that one. This isn't even all that new of a Bug album anymore, though I can't help but feel it quickly went by the wayside, especially in the wake of Fire coming out the following year. It certainly isn't much like Kevin Martin's Ninja Tune releases, none of the aggro dancehall and grime raps present. If anything, In Blue has more in common with his other Hyperdub records, the Roger Robinson collaboration King Midas Sound. I'm far from the only person to make that association, though I do wonder if this album started as a King Midas Sound project before morphing into this. Kevin and Roger had taken their work into almost dark ambient pastures by this point though, so a different approach and collaborator was probably called for if Mr. Martin wanted a return to the more soulful side of his muse.

As for who Dis Fig is, she doesn't have much Discoggian data, a smattering of singles and a tape album the extent of her solo work. Known as Felicia Chen on her travel papers, she does appear to have some presence on the Soundcloud DJ circuit, with a contribution to FACT Magazine her highest profile gig. There's definitely an aggro, industrialist approach to her sound, oftentimes coupled with ethereal whispers and tense ambient interludes, keeping you on edge for when the aural assault resumes. Seems like a perfect match-up with Mr. Martin's own brand of industrial dub and dancehall grit. Oh, what's this, a global pandemic has put everyone on lockdown? With nothing better to do, seems time was about right to get that collaboration rollin'.

And if the tunnel artwork wasn't enough, first proper tune Come gets right to work in setting the tone of In Blue. Muted echoes, rumbling bass reverberating off concrete walls, an omnipresent dub wail like wind through confined industrial zones - it's all quite familiar Bug music, though rather muted and suppressed compared to his Ninja Tune outings. All the while Ms. Chen softly croons along, though only provides verses to about half the tracks, sometimes with nothing more than a dubbed-out wail piercing Kevin's grimey murk. Some tunes barely feature her at all, such as the gutter bounce of In 2 U or the diesel-train chugging of Forever. It does leave me to wonder if Dis Fig did any music production for this album. Like, The Bug's work is largely prevalent, but surely a couple of those endless echoes are more than Ms. Chen's soft vocals.

In Blue definitely is a seductive album for those who like their bass music on the ethereal side of things. It's a bit samey throughout though, as though you're travelling through an unending monochrome tunnel. Again, I'm sure that was the intent, and Bug plus Fig pull it off well. It just unfortunately kind of melts into the background after a while. Might have been better served as a couple EPs instead.

Martin Allin - Impact Release

Neotantra: 2021

Now here's an odd one. Yes, I claim that about a lot of releases – when one has covered upward of around two-thousand items, odds are favourable that a few of them will be 'odd'. Claiming a Neotantra release as being odd is a stretch though. Their ambient manifesto is quite clear and concise, with packaging simple and clear. Seldom does the music within indulge conflicting tonal contrasts or extreme experimentation – by this point, you pretty much know what you're gonna' get out of one of their CDs. And yet, Martin Allin's Impact Release is odd because of its CD, or at least its packaging. For some reason, it's different from its digital counterpart, an almost black navy blue, whereas the latter is much brighter. Even the image preview on Bandcamp features a digipak much closer to the digital colours than what I have in my hand.

Did something go wonky at the printing press, certain colours running out on the assembly line? Are there perhaps a select few 'alternate' versions of this CD floating about now, which will command insanely inflated collector's market prices for a copy? Yeah, yeah, it's silly hyper-focusing on such a thing, but when a label makes colour gradients its distinct and only feature in the artwork, minor incongruities tend to leap out at you. At least Neotantra has evolved to include unique photography for its cover art in recent months.

Anyhow, Martin Allin. There isn't much information on him out there in internetland, so I assume he's a relative newcomer to the ambient-osphere. His Discogs page is basically blank, this album and a couple Neotantra compilation contributions the extent of his discographical data. His Soundcloud page does offer a few more items, but far as I can tell, Mr. Allin hit the road running, getting signed to the label shortly after going public with his musical works.

And what brand of ambient do we have ourselves with Impact Release? Mostly minimalist, lowercase forms, with echoing field recordings, soft pad drones, analogue fuzz and generally unassuming, background sonic padding. It's all rather like Andrew Heath (to namedrop another lowercase composer I've covered), though remixed into the deepest meditation vibes you can imagine. Some pieces, like Homeostasis Friend Weather, Your Father And Nature, and Frustrating, are almost nothing more than ethereal wisps of sound, occasional thrums of synth tone and echo drops the only reminder of a CD still playing. Yet even when there's barely any music at all, Martin Allin somehow sucks you in just the same.

The last couple tracks - I Am Grateful To Her For That Lesson and Merry The Mountain - add actual rhythms. Though they're little more than basic dub techno beats, compared to the utter ambience in the rest of the album, these might as well be storming tech-trance beasts. They honestly almost cause me mental whiplash, being so completely zoned out on the near sonic-nothingness leading up to them. Impact Release indeed.

ASC - Imagine The Future

Samurai Red Seal: 2015

I've covered a fair bit of ASC on this blog, but aside from my first dip into Mr. Clements' discography (Nothing Is Certain) and the multi-part Sci-Files series, it's been almost entirely his ambient output. Even then, I've barely scratched the surface of those records, but I know there's more to his muse than lengthy dronescapes. No, it's about time I scoped out something of his that has some rhythmic momentum going on, a trip into techno or dive into d'n'b again. Imagine The Future is thus that album that'll get me there, for no other reason than because it was the one of the ones that was there. On ASC's Bandcamp, that is. Can't be too fussy, I s'pose.

This actually is a bit of an appropriate album to check out, in that it was released the same year as Fervent Dream, when I started listening to more ASC proper-like. Oh, what strange and bizarre butterfly-effect may have happened in that alternate timeline, had I chosen Imagine The Future over Fervent Dream. Well, no, I can't conjure any such quantum variation upon my current state of being. I got Fervent Dream because it was on Silent Season, it being an ASC album just an added bonus. There was no 'zine hype surrounding Samurai Red Seal at the time (at least, none that I was aware of, and certainly no spiffy Resident Advisor write-up). Not that it would matter, as this was the last album released on the Samurai Music off-shoot (ASC's Space Echo EP being the very last item – James sure knows how to pick 'em).

Anyhow, Imagine The Future kicks off with a three-part, near twelve-minute piece titled Sunspots. When I first threw the album on, I did not realize it was a three-part, near twelve-minute piece, and honestly thought I was listening to a continuous mix. Look, when each 'Event' sounds radically different from the other, going from a chill bleepy ambience, to a harsher beatless techno dub, to out-and-out experimentation, you'd be forgiven for thinking the same.

That bit of artistic indulgence out of the way, Mr. Clements turns his attention to more conventional songcraft, kinda'. By the mid-'10s, he was well onto pushing the boundaries of how much sonic space he could breathe into his minimalist microfunk beats, and Imagine The Future pushes far indeed. Even when the tempo is technically high and brisk, the low thrum of bass and smooth, breezy rhythms never dominates a given track, letting the sparse melodic fills and cosmic reverb do the heavy lifting. It's like where the bleeding edge of techno and d'n'b meet out there, in space, but as viewed (heard?) from our distant, Earthly vantage point.

It all sounds neat and interesting, but there's a bit of a sterile, clinical approach to it too. I think I've just been spoiled by ASC's warmer sonic adventures into ambience, Imagine The Future coming off as a hard yank back into techno dystopia by comparison. Perfect for forlorn Photek fans!

Banco de Gaia - Igizeh (20th Anniversary Edition)

Disco Gecko: 2020

I was hyped when Toby Marks started putting out 20th anniversary editions of his back-catalogue, but only for the first couple albums. As I only discovered Banco's music after the Last Train To Lhasa era, his early years had remained something of a mystery, a potential trove of unreleased alternates, versions, and remixes of tunes that don't get as much shine in modern years. By Big Men Cry though, I was consistently on the ball about Banco, so didn't miss out on much that I wasn't interested in to begin with. And to be blunt, the packages that were released for Big Men Cry and Magical Sounds... didn't look to enhance those albums beyond what I already got out of them. Thus I let them pass on by.

Igizeh's re-issue though, I was interested in this one. This album tends to get overlooked, the big-beat 'hit' How Much Reality Can You Take? overshadowing some of the best songs to ever emerge from the World Bank. Seti I remains a top class tribal opener, Obsidian a fun romp into trance's domain, while Ms. Folker's heart-wrenching go with Glove Puppet cuts like a knife through your soul. Meanwhile, though B2 and Gizeh may not be quite on part with similar tunes in Banco's catalogue, they're still solid entries into his ambient dub and epic jam lexicon. Even the 'lesser' tunes like Creme Egg, Fake It Till You Make It and Sixty Sixteen nicely round out the album experience. Yes, Igizeh has everything going for it that should have made it a Banco de Gaia classic, if not for one thing: the mixdown.

Granted, there's none of the dirty digitalness that marred You Are Here. However, it was rather muffled too, as though the microphones used to record in all these live settings simply couldn't pick up the performed music at its best. Surely a spiffy, modern, remastering of Igizeh would erase those limitations, give these songs the resonance they deserve? Well, there's more clarity in 20th Anniversary - I can pick out even more drumming than before! I still need to crank the volume a little extra though. Guess there's no getting around the quality of the source material.

But enough of that. The selling point of these anniversary editions has been the bonus content, and I was quite intrigued by what Igizeh's offered. Banco's drifting into proper band territory has made much of that music difficult to remix, likely the reason why Magical Sounds... featured mostly live versions instead. Not here though, every tune getting the remix treatment in some way. A couple I already have (ADF's go with Obsidian, Dreadzone's go on Glove Puppet, Jack Dangers' go on Reality), others are just dancier versions of the originals (Seti I, Creme Egg, Gizeh, B2). More interestingly, 100th Monkey's turns the Pink Floydy Fake It into prog-psy, while Andrew Heath radically alters Sixty Sixteen into his brand of minimalist ambient. It's like the rousing, climatic second half of the original never existed!

Speedy J - Ieee Mitten Menu

NovaMute: 1999/2021

Well, isn't this a funny looking little record from Speedy J. While he's never been completely shy from cheeky presentation (hello, scrambled cable porn G Spot), he's certainly not known for going so cartoony. Even the title of this single is silly, supposedly a Dutch play on words akin to English's Eeny Meeny Miny Moe (how the rest of that rhyme goes is entirely dependant upon where and when you grew up). I'm not sure what prompted the release of such a record on Jochem's part. It wasn't tied to any particular album, nor did he debut on NovaMute with it. Maybe Mr. Paap simply made this because *gasp* he just felt like it, as a lark? What sort of artistic indulgence is this!

The Nutt Mix (hehe, heh... 'nutt') is about what you'd expect from Speedy J in this time frame, an uncompromising techno-breaks outing with distortion aplenty. Even the robot voices are distorted! I'm not sure what that voice is saying, though online sources tell me it's more nursery rhyme silliness. Additional elements come and go, like spacey synth pads, swooshing effects, warbly sine waves, while the rhythms shift into higher gear near the peak of the track. Nothing fancy, just a functional slice of aggro techno for the (then) modern era. You'll be hearing this phrase from me a lot about Speedy J records in the future.

The Mint Mix opens with a vocal which I assume is the title (or portions of the rhyme) getting all chopped up. That voice though, I can't help but feel like I've heard it before. It almost sounds like that “something for your mind” lady, and now my brain has made a connection to Speedy J's breakout single of the same name that almost certainly doesn't exist in reality. No, really, how funny would it be if Mr. Paap used Ieee Mitten Menu as an exercise in exorcising demons from his past. Yeah, it was a big break for him, but boy was Jochem ever quick in distancing himself away from that brand of techno too.

Anyhow, Mint Mix seems mostly conventional and pared down from the Nutt Mix, a rather funky breakbeat carrying things along as the familiar Ieee Mitten Menu elements come and go. Towards the end though, things go ultra-distorted in a noisy freak-out of aggro beats. Pretty cool, and segues nicely for a coda of lingering, creepy after effects.

B-side Fart Essen (hehe, heh... 'essen') is a straight-up, no nonsense piece of faceless techno business, relentless bosh for the 4am warehouse crowd. Kinda' cool as a precursor of where Speedy J would eventually end up, but not much else to say about it. I do wonder what folks thought of it at the time though. Like, were any of his followers still hoping for a return to his G Spot material? Oh sweet summer children, if you felt Ieee Mitten Menu was off the plot, you hadn't heard anything yet.

Olivier Orand - Human

Ultimae Records/Sidereal: 2008/2019

As I'm perusing the Sidereal shop looking to update my Solar Fields re-issues, I notice this remarkably striking bit of cover art. Holy hell, but what is this? Some sort of synthwave noir outing? Seems like a strange addition to a label primarily focused on Magnus' back-catalogue. I certainly have never heard of this Olivier Orand before, so maybe they've begun branching out a little. Sure, I'll give this a whirl.

When I fire up Discogs to Add [this CD] To [my] Collection, I'm struck by a sudden sense of recollection. One of these tracks is called Radio Bombay? I swear I've heard that before! Maybe a previous compilation? Let me Search Mr. Orand's Discography within Discogs and ...oh! This album titled Human is in fact a re-issue of Human, previously released on Ultimae Records by Hol Baumann. Wait, Hol is Olivier? Baumann is Orand? Finkle is Einhorn? What's going on?

So turns out, 'Hol Baumann' was an alias (nickname?) for Olivier, which he promptly dumped sometime in the mid-'10s. I can't find any information for the change. Some sort of finagling over legal matters? A feeling that his time with Ultimae was well in his past, so may as well carry on with his real name? Whatever the case, Mr. Baumann are no more, and Mr. Orand now... is.

This is also fortuitous in my case, as Human is one of the few Ultimae records I never picked up. It wasn't for a lack of opportunity, mind you, seeing it available in the label's shop long after much of their back-catalogue went out of print. For whatever reason though, I was never compelled to nab it while I had the chance, and I assume that was the case with a lot of Ultimae followers. Which had to suck just a little for one of the label's longest contributors to their series of compilations.

Anyhow, this Human is slightly different from the older Human, in that four tracks have been added (Varanasi, Handwritten Notes, Scala, Final), and one removed (Bénarès (Vârânaçî Edit)). Also, the final sequence has been rejiggered, five minutes of silence following A Forgotten Ritual jettisoned in favour of two added tracks.

Now that I have taken in Human proper-like, I cannot deny feeling a little disappointed in not giving it a chance sooner. While maybe not as God-tier as some of Ultimae's all-stars, Olivier's offering is a darn fine outing of clicky-glitchy world beat psy-dub. Even if the beatcraft and sample splicing does create something of a plastic sheen to the production, it's never too over-indulgent in effects wankery to be distracting. And when Mr. Orand goes for an opulent climax, it's easily on par with the best of what Ultimae offered at the time. The only real drawback to Human is the lack of anything immediately earwormy, perhaps doing more than what the brain can firmly latch onto long-term. Still, a nifty ride of various sounds and sonic soup while it plays.

Morphology - Horta Proxima

FireScope: 2020

Not to say Morphology isn't a suitable fit for FireScope, but man, did their debut on the label ever come off as an odd man out. I'm not even talking musically, their melodic songcraft nicely rubbing shoulders on the print that B12 built. Still, the duo's electro purism couldn't help but clash a little with the more IDM-leaning techno of the surrounding roster. Beyond that though, I'm talking about the utterly drab, beige cover-art of Traveller. FireScope has, if nothing else, offered quite the selection of fantastical sci-fi aesthetics, eye grabbing artwork that one can easily get lost in as the retro-future rhythms emanate from nearby speakers. All except for Morphology's album, nothing more than a barren, empty crawlspace in an unremarkable space-station. It's certainly a choice, and may even suite the electro vibe Matti and Michael cultivate, but does little in standing out on a label like FireScope.

So I'm glad that, if nothing else, we've got something a little more colourful for Morphology's follow-up on FireScope, Horta Proxima. At first glance, it's still a stark, almost barren bit of scenery, but at least we have some nice contrast in the darks and oranges. Looking deeper though, and you discover there's all sorts of odd, mysterious artifacts in this landscape. Is that some sort of ruin? A living creature? A bio-mechanical monstrosity? So many possibilities, though I'm certain ninety percent of you have already thought of that one episode of classic Star Trek.

In any event, Horta Proxima is indeed the latest album from Morphology, which means is yet another of those quirky items on FireScope where an LP is split between two CDs of EP length. Yeah, yeah, it's meant to replicate the vinyl experience of having an album on two separate discs, which was a bit novel when Morphology broke that barrier with Traveller. Now that Steven Rutter, John Shima, and Derek Carr have also gotten in on that however, it doesn't feel quite so novel. Whatever, you do you, FireScope.

(*DE-DAE-DE DUN-DUUNN* BREAKING NEWS!!
As I was writing this, FireScope announced a Mophology box-set ...kinda'. Two separate albums titled Twelve, out on four CDs or records, with cover-art that's... very techno traditionalist. So much for falling lock-step with rest of the label)

Whichever disc of Horta Proxima you throw on first, they play out in similar fashion. The first couple tracks feature the most 'FireScope'-y of the tracks, closer to the domain of melodic IDM and sci-fi techno, followed by an assault of bumpin' electro, closing off with something on the downbeat. Or the whole thing plays out in two halves, if you go the digital route. When Morphology let the melodies carry, they fit right at home with FireScope, but whenever the robots start gettin' down, they remain odd cybermen out. Throughout it all though, their mint, angular beatcraft and thick bass tones resolutely keep the propah' electro fires burning bright. Preferably glimmering across chrome-painted star cruisers.

Various - Heights

Archives: 2020

Finally, I get to talk about Archives! Not that this Spanish ambient label is some utterly unknown entity. Nay, they've been operation for over half a decade now, steadily releasing albums at a solid clip of several items per year, with such names like Purl, Halftribe, and Gallery Six making appearances. Throw in gorgeous naturalistic cover art with each release, and you'd think Archives would be on the tips of more tongues within the ambient-o-sphere.

Honestly though, if it wasn't for the Purl connection, I probably would have completely passed Archives by. As I've said in the past, when there's so much ambient music being released by the hour, one tends to focus their interests on specific artists and labels after a while, trusted go-tos and the like. Occasionally a Discoggian dive or a spiffy write-up in a 'zine might lure you in for a closer look, but in my experience, such times are rare. We are very much creatures of habit. Maybe, if I'd happened upon the cover art at least, I'd have given Archives a shot (they are very lovely landscapes), but I haven't seen much of their output in the usual blogs and store-fronts, to say nothing of being almost a non-factor in getting attention of the Almighty Algorithm. Nope, it was strictly the fact Purl released an album on there in 2020 that I ever learned of the label at all.

With that in mind, you may expect Archives to mostly be on that slightly dubby, layered drone type of ambient business, rather like Silent Season on their beatless days. Well, I don't know about that with any authoritative measure, as I've only gotten four CDs from the label thus far. I suppose it's handy that we're starting this mini-plunge with a compilation then, a tasty appetizer of various artists on offer before taking in a proper meal.

And hoo boy, am I ever diving into the ambientia obscura here. Andrew Tasselmyer. Shuta Yasukochi. Pepo Galán. Sphereuleus. Snufmumriko. Not to say these are complete unknowns abroad – some have even made appearances on Kompakt. Out of the eleven tracks featured on Heights though, I only recognize two off-hand: Hilyard, due to her collaboration with ProtoU on Cryo Chamber; and Warmth, because he runs Archives, and thus has a ton of material on the label.

Tasselmyer's Columns opens things up, and it's a pure drone-tone piece, eventually fading off into white noise and wind. Ellis' Canyons edges closer to modern classical, gentle piano piercing dense layers of calming, dubby drone. Heights mostly flits between these styles of ambient throughout, pieces ambling along and generally maintaining a tranquil mood. While every artist does bring something unique, you probably won't notice much variation unless you're paying close attention.

And that's fine, Archives' brand of ambient clearly intent on existing as nothing more than a cleanser for your headspace. As such, you'd justly believe it'd remain overlooked and obscure, but it's just so darn good at it!

Yet Another EMC Update: The Updatening (Or How I Learned To Stop Worrying And Update Harder)

So I'm postponing the Ace Tracks Playlist another month. No major, life-shattering reason for this, some unforeseen, cataclysmic event in The Life Of Me shaking down. Between the last two months, I do have enough material for a respectable playlist, but my future schedule does make this the practical option.

For you see, I plan on taking July off. I'll be away from home for a significant chunk of the month, and likely won't have much time to knock out any reviews. Yes, not even on the road, as my poor old laptop is truly showing its age now. Besides, it's been four years since I last took a full month off, and could probably use a little mental recharge. Yeah, there were some fallow periods (oh God, were there ever some fallow periods in 2020!), but I still managed to squirt out a few reviews per month even during those challenging lean times. I can probably use some extended time not worrying about this blog. And since it's doubtful I'll do enough in June to justify its own playlist, it makes better sense combining these three months into one before going on my month-long break.

Wow, this has to be the most update-iest update I've ever updated.