N:L:E - Dune

Liquid Frog Records: 2021

Man, everyone gettin' their Dune on d'eez days, eh? Film makers, musicians, video essayists, and the whole lot. I'd like to say I've been getting down with the Dune just as much, but I can't quite make that leap. Like, the first movie from a few years back, I was a little intrigued, but already knowing the bulk of the story, wasn't that hyped for it either. And to be perfectly blunt, Denis' take on the source material looked almost too reverential, really focusing on the world building to an almost fetishistic degree. Say what you will about the Lynch version, but that movie had some real balls in going so gonzo with set design. David firmly putting his signature on it, catch my drift? Does Villeneuve's Dune have any scene as glorious as Patrick Stewart leading a charge into battle with pug in arms? I think not!

Still, that second movie, that would be the stuff. Those story beats got massively butchered in the Lynch version due to a truncated script, but surely Denis would flesh everything out with all the extra time afforded. Wait, it doesn't feature a creepy little girl murdering the Baron? Well, geez, what's the point, then? One of the best aspects of Dune is just how fucked up the source material really is.

Admittedly, I haven't read the books, mostly digesting the lore through video essays and dense fan wikis. My hesitation comes from being unsure whether Herbert's prose can live up to the premise. I sense Dune is one of those novels that's more fascinating in its ideas and world building than it is in actual execution, and perhaps why its long been regarded as unfilmable. Well, whatever the case, I can at least rest easy understanding every Duncan Idaho meme on the internet.

Oh, wait, I'm supposed to be talking about Juan Pablo Giacovino's take with Dune, aren't I? This almost feels unfair, in that a lot of musicians have taken inspiration from Dune, and how can I possibly compare his to them all? It doesn't sound like Toto. It doesn't sound like Brian Eno. It doesn't sound like Hans Zimmer. And doesn't sound like EON. It sounds like... well, it sounds like one of his Caravan sessions, if I'm honest.

Which is fine in of itself, but doesn't really capture the inhospitable nature of Arrakis, does it? So calm, flowing, and soothing, little of the mystery and ominous feeling of wandering a dry wasteland dominated by impossibly large worms, all the while tripping your dimensional space off to spice. No, this feels more like traversing the gentle waves of fine particulate grains gracefully moving across an arid surface of a mild wind, existing between the two extremes of torturous heat and deathly cold. There is still a sense of the grand in N:L:E's ambient excursions, but more like gazing upon the environment from afar, unaware and unconcerned with the turmoil that lurks within its unique surface.

Dance With The Dead - Driven To Madness

self-release: 2022

And thus we've come to the end of yet another of my Bandcamp catalogue bulk buys, that of the dynamic duo of Dance With The Dead. What I find remarkable about this one is, unlike so many other artists I did the deed with, these chaps haven't released anything since. No continued unearthing of archival material or relentlessly releasing new stuff, just sitting pat for the past two years. Okay, a tenth anniversary remastering of their debut album Out Of Body, but I don't count that. All I'm getting at is it's rather satisfying completing one of these discography dives and not having my OCD triggered by some unexpected unfinished business at its conclusion.

Is that the bigger question here, whether I'll carry on getting Dance With The Dead albums after this? For sure I like their stuff, but Driven To Madness kinda' shows they haven't evolved much either. You generally know what you're gonna' get with each record – driving synthwave action with epic guitar riffage – and that's fine for a fix every now and then. Yet I can't help but feel completely sated on their style now, this album not quite hitting the highs I've come to expect from them. Maybe it's just the record itself, Tony and Justin trying to find their mojo again after a four-year gap between LPs (not to mention a pandemic).

They're certainly shooting for something far grander in scope, even getting some dialog from John Carprenter in the opening intro. Finally, a feature from the man that inspired so much of their sound! What turned my head even quicker, however, was the opening riff of follow-up Firebird, reminding me of Stone Temple Pilots' Sex Type Thing. Grunge is not a genre of music I make many connective tissues with, especially when dealing with anything involving synths. Firebird is pretty darn epic though, even dropping some choir pads at its climax. Ah, hmm, maybe overselling things a little there, lads. And something about the chugging synths in Hex has me feeling a track more suited for some festival set than a pair of dudes jamming on stage. It is a different direction than what I'm used to hearing from them, but not really sustained for the rest of Driven To Madness.

And I think that's where my disconnect comes in. While I can't say I would have looked forward to a whole album of just festival bangers (even from these guys), at least it would have been something different. Instead, we're back in familiar territory with the outrun cuts (Sledge, Wyrm Of Doom), the heavier rockers (I'm Your Passenger, A New Fear), the synth poppers (Kiss Of The Creature, Nebula), and the ballad (Start The Thaw). I do appreciate hearing more regular drums over digital ones (sampled or not, I'm not sure, there isn't a drummer credit included), but beyond that, yeah, it's Dance With The Dead doing their thing. Think I'll need a little more than that should I get any future albums.

N:L:E - Docking To The New Space Station

Liquid Frog Records: 2020

Hey, remember Natural Life Essence? Boy, sure has been a while since I last talked about an album specific to this alias of Juan Pablo Giacovino. According to my stats, the last was Botanical Adventures way back in December, which, okay, maybe not that long ago, what with a month off between and all. Still, it feels like I've been focusing more on Juan Pablo's other projects than this one as of late. Except Yahgan, that one's been left out on a limb for a while now.

Oh, and I'm kinda' fibbing on dealing with a regular ol' album from N:L:E in this case, even if the title doesn't imply as such. Way back when Juan Pablo started out, he released a three-part series called Space Caravan (chap loves his caravans), which I assume helped him stand out from an overstuffed ambient market. Nothing gets fans of droning synth tones more amped than adding a little conceptualization of the cosmic grande. Wrapped, he moved onto other sonic pursuits like bio-diversity and adventures of polar peoples, generally leaving the space stuff behind. That didn't last long though, returning to Space Caravan with Docking To The New Space Station, a spiritual sequel in concept if not in title. Not much longer after that, he started an entirely new alias for any and all space ambient music on his mind, H:U:M. But that's getting ahead of things. Or reiterating points I've already made. I'm honestly losing track of all this ten months on.

Calling this an album also may be a slight fib, in that three of the five tracks are billed as remixes of the titular opener. I'm not sure how much of a difference that makes overall, but as I've heard in other releases from Juan Pablo, he isn't afraid of exploring different facets of similar themes over genre variations. Just usually those are distinguished as 'Part's or '[Alias] Remix's, not independently titled remixes in of themselves. Well, I guess he was still sussing all these things out – when one has as relentless a work rate has Mr. Giacovino has shown, things like titling conventions tend to be a little fluid.

As for the main near-fifteen minute track, it's got much of what I've come to expect out of an N:L:E Caravan session: flowing, whispery synth pads, some spritely effects sprinkled about, a little arp action building rhythmic momentum in the back-end. And I swear there's a distant woodwind sample that rather reminds me of the opening refrains you hear on many an Enigma album. The Sounds Of New Sun Mix is much the same, but features bell tones rather than arps, the Error Data Solved Mix brings in some simple rhythms, and the Short Transmission Mix is basically the Original Mix at half the length. There's also a final cut of Ending Transmission which really gets on some proper planetarium ambient vibes, just in case you were feeling well sated on all the layered whispery pad work that preceded it.

Kiphi - Divine Flux

Liquid Frog Records: 2021

Small point of order, an additional bit of info regarding this Kiphi project I've thus far neglected detailing. For you see, this is not just another alias of Juan Pablo Giacovino, one where he indulges in more melodic arps over his other projects. For sure that is an element of it, but there's another crucial tidbit of data that needs illuminating. A second gunman- erm, I mean, contributor to these electronic music pieces.

He's always been there, but for some reason slipped through my name-drops, assuming Kiphi was the same as Natural Life Essence, H:U:M, Spiritual Fields, Yaghan, and so on. Indeed, this particular person could very well be the primary creative force behind Kiphi, with Juan Pablo just hanging out in the same studio as sonic support. I certainly haven't seen the individual's name crop up elsewhere beyond some art and 'thanks' credits, but with a primary producer's role along side Juan Pablo, I have to assume as such. And this entity's name? Jose Carlos Giacovino. Brother? Father? Son? Spouse? Cousin? I haven't a clue, and haven't been able to find any more info. Not that it matters much, but y'know, gotta' be as thorough as one can be with these things. Lord Discogs gets mighty stingy if you submit releases to their database if you're not crossing all the 'T's and accenting all the 'É's.

I guess another reason I felt compelled to clarify the air over how many Giacovinos are contributing to these projects is because this is the first 'solo' Kiphi release I'm finally reviewing. I could kinda'-sorta' get away with assuming this was still all Juan Pablo when it was N:L:E & Kiphi, and such as, but no more! Unless Roberto Giacovino gets in on the act as well. So many Giacovinos running around Argentina. Just... so many.

Anyhow, you can throw that assumption on my part that Kiphi is strictly the 'N:L:E with arps' project, because there's a fair bit of diversity of style even with it serving as something of a rudder. Indeed, opener Ancient Mandala has them in a subtle fashion, but it's as much an ultra-chill ambient dub session with world beat overtones as anything synthy. Ooh, wouldn't that make this a Spiritual Fields jam instead? After World goes more psy-chill, while the titular cut settles into a layered ambient outing with dense, droning pads.

From there, the pace gets a significant boost, the arp work in Civilization far more propulsive than what's come before, while Prana gets into proper prog-psy territory, though is a little herky-jerky in execution. And what N:L:E record (adjacent or otherwise) would be complete without a two-part dub session? Incomplete, says I, so here's Antartica Interstellar 1 and 2, the first half the long ambient build, the second going full on into psy-dub territory. And wow, I've thus far heard plenty finesse with Juan Pablo's basslines, but does this one ever add some tasty stank throughout. I wonder if Jose Carlos was responsible for that?

Synaptic Voyager - Disconnect To Reconnect

Frame Of Mind: 2024

So I got into Gerd. Okay, 'got into' is maybe a stretch at this early stage, having only sampled a bunch of his releases thus far. I liked what I heard though, so sprung for a bunch of his stuff from back in the day. During that bout of Bandcamp digging, I came into contact with his Frame Of Mind print. A newish label that started out as a means of re-issuing his back catalogue, it's expanded to include other artists with rare material from the '90s, some of which never saw the light of day.

This here Synaptic Voyager seems to be one such act. I can't find much info about them, simply credited to Paul Baines and M. White (7), neither of whom have much Discoggian presence. A lone Discogs comments claims this comes from Sheffield, material recorded to DATs and sat in limbo for decades. I can believe it, as the techno on here is about as retro as you'll ever hear inspired from the Detroit Holy Lands. However, that scene was already moving onto its minimal phase, so this stuff would have come off rather dated all too quickly. Yes, even retro futuristic electro-jams were old hat as the '90s took form. Unless you were one of the O.G.s or Belleville Three, you had to evolve or be left in the dust.

Fortunately, three decades is plenty of time removed from all that scene pressure, letting folks who made some techno jams back in the day have their efforts re-emerge from the ether without preconceived judgment. Or heck, they maybe could have at any point, but it's nice having an established veteran like Gert-Jan Bilj give you that all-important seal of approval, hitching to his wagon and all. The first Synaptic Voyager record, State Of Play, came out a couple years ago to good response, and now we have Disconnect To Reconnect, coming out to... Well, I assume good response also, but this is so new (one month old as of this writing!), maybe the underground buzz is still burbling to the surface.

And yeah, this is techno as heard straight from the source, many years removed from its creation, with just a token amount of modern mastering. Second track Ne Plus Ultra will definitely get your Rhythim Is Rhythim triggers flaring (not to mention a little Frankie Knuckles), right down to those choppy strings. I'll give it this though, they certainly sound better here than they ever did on Derrick May's 'classic' single.

Oh, what the heck: this album's all kinds of awesome for the nostalgia feels. There's just no denying vintage Detroit techno continues to hit a sweet spot of basic body movin' goodness and earwormy bleeps, bloops, acid, and basslines. These tracks truly shine, however, when they're allowed to stretch to double-digit jam session lengths, just free-flowing over ever-shifting loop layering and knob twiddling. Eh, what's that, you didn't get the awesome extended versions with your black crack? 'Tis a shame, that.

Cymphonic - Dimensionata

Databloem: 2013

Diving deep into Databloem can seem daunting. Yeah, plenty recognizable names have passed through the label's doors over the decades, but I'm talking about all the other names that have come and gone. Your Danny Kreutzfeldts, your Krzysztof Orluks, your Beta Two Agonists, and so on. Of course, you never know who might make it far in this niche business – I doubt anyone had a clue that Daniel Pemberton kid would become a player in Hollywood when he debuted on Fax+ as a teen. Still, its understandable why some artists get bypassed, never gaining the name recognition that comes with a fruitful career. Only to be rediscovered long down the road when folks start truly digging into a long-lasting label in a flurry of “How did we miss this?” excitement.

I'm not saying Stanley Swinkel's Cymphonic project is one such example, but man, listening to his final record Dimensionata, I could see it happening. He didn't release much, just a handful of items on Databloem, but if they're as interesting as this one, they gotta' be worth scoping out.

It isn't even like he's doing something revolutionary or unique with his ambient excursion here, but it's somehow quite captivating for the hour-plus time it plays through. That's not such an easy feat as you'd believe, always those moments in LP-length ambient sessions that will have your attention drifting this way or that. Does it sound like I'm praising a singular track? Yes, because that's what Dimensionata is, even though it's not.

There are separate tracks on here, eleven ranging from three to fifteen minutes in length (mostly on the shorter end). You can hear when each track starts and ends, as there will be a distinct tonal shift between them. Yet everything flows so seamlessly together, you'll swear it's all the same piece with different segments. I know the easiest comparison would be something like an old, lengthy Berlin-School jam, but even those would be structured around a singular concept. Dimensionata is somehow like that, but each segment stands unique from the other, as a skipping session clearly illustrates.

Primavera features ethereal harps and meditative chants, Weaving makes use of distant operatic voices over minimalist pads, Alignment Of Realities grows ominous with dark ambience, Dancing In Purple Light brings tranquil levity with spritely arps, and so on and so on. As described, each piece sounds perfectly fine on their own, yet I can't imagine listening to any of them outside the context of this album as a whole. Yes, that makes Dimensionata the Ace Track of this review, even though it's not a singular track in of itself.

But is it any good though? Well, if you like your ambient music subtle and full of humble grace, absolutely. Whether its a true Hidden Gem of Databloem, you'd have to ask someone who's consumed the label's entire catalogue. From what I've heard out of the print, however, it's definitely one of the more fascinating listening experiences I've had.

Masterboy - Different Dreams

Polytel: 1994

Can't have a credible eurodance collection without at least one Masterboy album in it. And if there's any worth having, it's definitely this one. It's got their most recognizable hits, it came out during that scene's best year, the original line-up with Trixi Delgado is still intact, and... um... it's got the most comments on Lord Discogs? Heh, that's funny, in that the follow-up album, Generation Of Love, has none. Even their generic house debut, The Masterboy Family, has at least one review.

Let me backtrack. Was Masterboy that big a deal back in the day? For sure I remember seeing that iconic logo – how could you not miss such a vicious grin among all the Dance Mix collections? Yet what were their big singles? Everybody Needs Somebody, I Got To Give It Up and Generation Of Love seem like the obvious contenders, but they were just marginally successful on most charts, only once cracking the Top 10 in their native Germany (with Feel The Heat Of The Night).

Eurodance was massively spoiled for options when Masterboy was active, and some acts had to fall by the wayside when talk of the most noteworthy names carried on. I feel like the group Tommy Schleh and Enrico Zabler built turned into one such act, as the utter lack of Shuffle Dance videos featuring their tunes attests to. But hey, it's three decades later (!!), surely enough time to dust off some of their music to see if its gained overlooked gem status.

And the titular second track (first's an intro) bodes well: strong punchy riffs in that vintage buzzy, sawwave synth style, propulsive rhythms that get you hyped doing aerobic exercises, Trixi belting out an earwormy chorus and... Tommy just adequately doing the rap. Whoof, I know eurodance was never known for its brilliant lyrical wordplay, but even this stuff is some of the most basic material you'll ever hear. Gander: “If you wanna be in the galaxy; If you wanna take a trip inside a starship; If you wanna be President; If you wanna be from heaven sent; If you wanna be the guide of all; If you wanna be ten feet tall;” Okay, yeah, believe in your dreams and all that, but Mr. Schleh delivers such lines with all the enthusiasm of reading copy for a life insurance commercial, like he's afraid of tripping over every syllable.

It's far from a deal breaker, mind you, as all the other elements in play are peak-era eurodance, production as solid as anything you'll hear from '94. Those choruses from Trixi in Is This The Love and Do You Wanna Dance are just to die for, in that they'll get your heart rate soaring! I get the need for rap verses – it's was the successful formula everyone had to copy. When they don't even have a ragga gimmick going for them though, it's little surprise Masterboy isn't remembered quite so readily as other acts of the day.

Spiritual Fields - Dharma

Liquid Frog Records: 2021

And finally we come the last of Mr. Giacovino's aliases, Spiritual Fields. Not as robust as Natural Life Essence or as thematically specific as Yahgan or H:U:M, though I'm sure one can easily glean what musical lane this one likes to travel. I'm kinda' surprised we've already gotten to it this far along in this exorbitant coverage of Juan Pablo's entire music catalogue (up to a certain point), somehow thinking it'd be even further down the road. Then again, I think I've gotten through something like thirty percent of his music now, so time seems about right I'd stumble upon Spiritual Fields.

Funny thing is, if I really wanted to, I could skip most of the EPs of this alias, many tracks appearing on the self-titled album released after. That would, of course, slot any significant coverage of Spiritual Fields way down the queue. I don't think it's that necessary to do so – it's not like there's a tonne of Spiritual Fields releases out there anyway. In terms of reviews, it'd really only save me a couple. Yes, I know between this and Suntrip Records CDs, it feels like a never-ending barrage of the same ol' over and over. I'm sure it felt like that with Lucette Bourdin as well. Or those Neil Young box-sets. Or the In Trance We Trust series. Or the Fabric series. Hmm, speaking of, it is spring again, when my fancy thoughts of Fabric start anew...

Anyhow, Dharma. This was the last of the Spiritual Fields EPs before Juan Pablo consolidated a bunch of them onto an LP (released a mere two months afterwards), three out the four tracks making the cut. And I'm not surprised the one that didn't, um, didn't, as it's strictly an ambient affair whereas the other three maintain a groovy, reggae dub rhythm. Yeah, if there's anything I'd say defines Spiritual Fields among all of Mr. Giacovino's works, its the prominent leap into psy dub's territory. That honestly caught me a little off guard, in that I thought this was gonna' be more world beat leaning, and for sure it has those elements too. Just not so prominent as low end vibes these tracks offer.

As is so often the case, I can't help but think of what each particular track reminds me of rather than how it sounds on its own merits. There's elements of the ambient mix of Dharma that have me thinking of the lengthy, tranquil ambient jams of vintage Fax+ material. Happy Monks [ Rising Sun Again Mix ] gets me vibing to some dubby house via The Orb's jams with Youth. And there's just something about Hard Road [ Hard Journey ] that has me thinking more in line with a Loop Guru jam – maybe it's the flute? Really the only track that feels like a typical N:L:E tune is the main one, though obviously with some gentle chants and dubby rhythms differentiating it from actual N:L:E material. Not by much though.

ACE TRACKS: February - March 2024

Been a while since I last wrote one of these, eh? Yeah, I feel the two-month Ace Tracks playlist is almost necessary now, just to plug in more variety of music than all the psy trance that clogs these. Which means a bunch of updates to the blog that I must rattle off now!

Um, okay, there really isn't much, though I have noticed a bunch of older Ace Tracks playlists still linked to Spotify are dying off. Makes sense, since I haven't used that streaming service for two years now, and likely never will again. It's easy enough updating all those posts with the Deezer version now, as all that did transfer over. Gads, that's a lot of tedious work to spend an afternoon on. Maybe I'll just do it whenever I get around to the 'old review' Mastodon link, which will happen later this year. Yeah, that'll suffice.

Nothing else coming to mind (which is weird, because I could have sworn February was quite an active month for some reason), so here's the ACE TRACKS for the past sixty-two days:


Full track list here.


MISSING ALBUMS:
H:U:M - Dark Matter
N:L:E & Kiphi - Crystal Vision
ReKaB - Counting The Days
Various - Decima Circuits_Cottage Industries 10
Various - Cottage Industries 11
Various - Cottage Industries (A Neo Ouija Compilation)
Various - Clockwork Manor (Cottage Industries 9)

Percentage Of Hip-Hop: 6% or 12%, depending if you want to include The 13th Sign in there
Percentage Of Rock: 0% (unless you want to count New Order, then 24%)
Most “WTF?” Track: none, unless you just can't understand how Cypress Hill could kill a man

So little surprise none of the Cottage Industries are on streaming – Lee Norris remains quite resolute in that – but what's funny is not all volumes are. I spotted a couple of the compilations on Deezer, oddly the middle ones. Why none of the older or newer, I haven't a clue. Regardless, it's a shame none of the ones I covered are, as the various electro and IDM tunes would have nicely broken up all the psy trance.

It actually isn't that bad though, with variety of hip-hop, techno, tech-house, and such sprinkled about for the first 7/8ths worth. But yeah, that final stretch of just psy and New Order does get redundant.

Krystian Shek - Despite Our Silence

Carpe Sonum Records: 2021

Krystian's a frequent Carpe Sonum contributor, indeed among their earliest sign-ons. Probably didn't hurt he's also Fax+ alumni, debuting on Pete Namlook's print over two decades ago. Yet it's taken me this long to finally bite the bullet on one of his albums. Why? I mean, both Sometimes Not and Al-Qāhirah are blue covered releases, so surely Mr. Shek is a shoo-in for my interests. Well, I did sample some, and turns out Krystian fancies himself the minimalist dub techno style a fair amount. Hey, I fancy myself that as well, on occasion, but I tend to get my fill elsewhere, from names like Lars Leonhard and labels like Ultimae Records.

Still, I was likely doing myself a disservice if I didn't at least give ol' Krystian at least one chance, so nabbed this particular album of Despite Our Silence. Why? Cover art reminded me of some Silent Season vibes, and with that label now seemingly on permanent hiatus, gotta' get my naturalist dub techno tunes somewhere.

And the titular opening track bodes... slightly promising? I'm mostly reminded of Norman Feller's Frameless Structure, what with its deep dub atmospherics, minimalist sinewy synths, and distant field recordings. Whereas Norman wasn't afraid to lay some emotional tones on thick, however, Krystian keeps things about as restrained as humanly possible – I kept waiting for things to kick up another notch, but it simply doesn't, content remaining at the same tone for its seven minute duration. Well, this is the opening track, the mood setter, from where things can build upon. Right?

Typically, yes, but instead Mr. Shek goes ever more minimal for much of the remaining album. Sparse dub throbs, rhythms that barely tick and tock (if there's even any percussion), and exactly one (1) unique feature per track that comes and goes with little fanfare. Some acid in From the Depths Of The Hearts. Spritely synths in A Spot Of Dust that'll get your John Carpenter triggers flaring. Echoing synth leads that hint at something grander way, way beyond in Occupied By Night. Some gentle piano diddling in Morning Fog. An aggressive bit of post-dubstep rhythm that's over before it begins in Forbidden Forests. Only final track The Bells Of Kiribati offers something truly different, all layered bell tones, field recordings and sample manipulations. Oh, and a CD secret song after, something comparatively uptempo and, dare I say, hooky for dub techno. Holy cow, did this album ever need more of that!

But then I suspect Despite Our Silence is not that sort of album. Fair enough, but at just forty-five minutes long (sans secret song), it doesn't offer much either. There's some dub tones, there's sporadic melodic tasters sprinkled about, and not a whole lot else. Even if I'm down for the spacious emptiness of it all, without that exquisite Ultimae Mixdown™ Aes Dana provides for similar sounding albums on his label's releases, I simply don't get as lost within. An unfortunate case of 'it's okay, but I've heard better'-itis.