Sine Silex - Schachmatt

Werkstatt Recordings: 2016

Anna Michailidou must be the hardest working madame in underground coldwave synth-pop right now. Right, that's an incredibly micro-niche avenue to take residence in, but since diving into Werkstatt Records' catalogue, I've continuously seen her name crop up. Already a member of Resistance Of Independent Music and Paradox Obscur, she's also taken up a solo career as Kriistal Ann, and has added her gothic croon to many other synthwave acts out there, a feature on GosT's Non Paradisi perhaps her greatest exposure yet.

Another is a three-piece act called Factice Factory. These chaps from France and the Alps mostly stick to a strict diet of minimalist coldwave, so Ms. Ann's voice was a natural fit with their aesthetic. Guess Anna liked working with lead singer François Ducarn enough such that they formed their own minimalist synth-pop duo called Sine Silex, a change of pace from the heavier, EBM-leaning sound she typically makes with Toxic Razor.

For some stupid reason, the first duo I drew comparisons with was Miss Kittin & The Hacker. While both make use of a stripped-down synth-pop sound heavily influenced from the early '80s, that's where the similarities end. For one, Mr. Ducarn sings, and Mr. Hacker never uttered a word. Also, while you could say both groups' lyrics carry a certain detachment to them, MK&tH did so in a deadpan, cynical way. I get no such irony from Sine Silex, François and Kriistal performing their music as straight-faced as this can get. I mean, such minimalist music works best when the performers are stripped of emotion as well, but those electroclash sorts always kept a wink and a wry smile while doing so. This are serious cold-synth pop-wave, yo'.

Actually, I'm not sure just how serious Sine Silex are being half the time, on account François and Kriistal don't sing in English all the time, sometimes going French, and perhaps other Euro languages I'm too dumb to detect. For that matter, Ms. Ann's accent is so thick that I don't always understand her anglophone lyrics either. Not that I'm complaining, her gothic voice such a unique attribute among so many synth-poppers, that their content isn't as much a selling point as their delivery. Besides, it's kinda' funny hearing her on bouncier tunes like Operative and Modeliste (a requisite nod to Kraftwerk's The Model) when so much of her work oozes the black phantasmic.

Most of the tunes on Schachmatt play to her strengths though, even if her vocals have more a supporting role to François' lead. There's the slower, melodramatic songs (Antidote, L'Embrun), the brisk EBM-leaning cuts (Ether, Six To Twenty Seconds, Nénuphar), plus tracks that indulge the desolate goth-pop that's right up Kriistal's cobble-stone pathway (Les Nimbes, Rifle, L'Amnésie). It's also all very simple music, only a few synthesizers and sequencers running at a given time. You'd have to be a dedicated fan of this sound to enjoy it, but I find it strangely alluring, like walking a digitized path through an abyssal plain.

Various - Saint-Germain-Des-Prés Café Vol. 5

Wagram Music: 2004

Though I'm hardly a nu-jazz connoisseur, I like it enough that I don't mind springing for a compilation or two if I stumble upon them on the cheap. And Saint-Germain-Des-Prés Café is classy enough that you know you're in safe hands even as a complete rube. This is now the third CD from the series I've bought, and oddly enough, I've only picked up odd-numbered volumes thus far. What is this, some sort of subconscious reverse Star Trek movie selection? Actually, that would be darn hilarious if the even-numbered volumes of Saint-Germain-Des-Prés Café were somehow significantly worse than the odd-numbered ones. I don't even know how that'd be possible, since nu-jazz tends to maintain a steady modicum of talent and skill to perform it. Maybe supreme jazz experts could tell the difference of quality between each performed piece, but for most of us plebs, it's all the same, laid-back, cool chillin' vibe. Still, I'm tempted to make my next purchase in this series be Saint-Germain-Des-Prés Café 7, just to keep this accidental pattern going. OCD... compels...

So while some familiar nu-jazz sounds and artist staples re-appear for this fifth go-around (De-Phazz! DJ Cam! Dzihan & Kamien! Norah Jones! Gotan Project! Meitz?), something new has also been added. Or rather, something old, but new for the series: real jazz. As in, traditional instruments, classic 'cool' performances (or whatever that late '50s – early '60s development was), and nary a synthesizer in sight. Not just a one or two-off either, but chunks of this CD devoted to it. Street Of Dreams with Stacey Kent & Jan Lundgren Trio is exactly the sort of jazz you probably instinctively think of when the term is thrown about. Brisa Roché does a tidy little vocal-bop number featuring a trumpet solo. Chet Baker adds his sad trumpet to Gotan Project's soft Parisian soul 'Round About Midnight.

And some of these tunes, I swear tricked me into thinking they were performed au naturale, so smooth these producers are in their trade. Like, David Borsu's Late Nite Swing sounds like a regular ol' soul-jazz jam with the drummer and the trumpeter and the keyboarder and the singer and all; but no, it's a Belgium DJ fusing a bunch of elements together, though I think the vocal snippets of numbers should have clued me in sooner. Koop adds Astor Piazzolla's bandeoneon (aka: comedy-sized accordion) for a tidy tango ditty in Veulvo Al Sur. Then there's Nicola Conte's Bossa Ahead Remix of Eli Goulart E Bando Do Mato's Meu Samba (so many consonants), sounding not a touch out of place from whatever Latin jazz musics you fancy. Makes me wonder if the 'remix' tag is even necessary. Rearrangement, mayhaps?

Of course, there's the obligatory tunes with a heavier emphasis on jazzy drum programming (Slow Train Soul's Inna City Woman), or dubby funk (Refactoy's Yo Solo Queiro, Patchworks' Deep Ocean). Through it all though, you'll definitely come away with a craving for a mocha and croissant. Preferably by a seaside vista.

WestBam - The Roof Is On Fire

TRS Records: 1991

Every nation has that one DJ that breaks 'rave culture' to the masses, promoting popular parties, club nights, and artists to such a degree they become legends within their respective countries. Britain had Paul Oakenfold. America had Frankie Bones. Even Canada had Chris Shepperd. In Germany, though, one Maximilian Lenz was undoubtedly The Man who became synonymous with 'techno'. Already a disc jockey of some note in Berlin, he performed at the first Love Parade (and most others after), organized the massive Mayday rave which drew over an unprecedented five-thousand souls, and continued to be a prominent personality throughout the ensuing decades. Oh, and some consider him a shameless, commercial sell-out milking that initial goodwill for all it's worth, a template emulated by future media whores like Tiesto and David Guetta. A divisive figure then, this WestBam chap.

One thing he isn't known for, however, is producing major hits. Some popular tunes, sure (especially Love Parade anthems), and Finland loved his stuff for a brief time. At no point has WestBam ever cracked the lucrative American market though, despite knowing enough famous folks on this side of the Atlantic that he should have. Hell, his last album, released in 2013, had features from Iggy Pop, Kanye West and Lil Wayne! If that don't get you attention here, I don't know what will.

Really, his career often shows love for American dance music, his earliest works mostly electro and house jams he'd use as tools for DJ sets. He released quite a few singles in the late '80s, consolidating them into an album called The Cabinet. This was repurposed a couple years later into The Roof Is On Fire for American distribution, and *whoof*, did it not age well even in that short amount of time.

Electronic music can sound dated but still be interesting in the songcraft holds up, but WestBam was far from honing whatever production talent he had at that point. This sounds like he's still in DJ-mode, tracks made of existing drum breaks and overused sample kits to be spliced and looped on the fly, some turntable scratching thrown in for good measure, but no care given to making them memorable tunes. This may work fine when you're DJing and all, but in an album format, this is some drab, dry, dull stuff. Seriously, did he not have any other samples than monkey “whooping”?

The Roof Is On Fire isn't a complete write-off, the house tunes faring better than the rest. Hold Me Back is a surprisingly solid slice of hip-house action, the titular cut is fun enough with 'speak'n'spell' vocals and crowd noises, and WestBam's nods towards New Beat's domain (The Wall, Cold Stomper) are welcome enough diversions in this album. The rest, however, is total pants, annoying novelty tracks that could barely hold muster even when new, much less now. You might enjoy it if you've a fondness for chintzy '80s sample-musik, but for most folks, WestBam's production career starts after this.

Akshan - The Rise Of Atlantis

Altar Records: 2013

Might The Rise Of Atlantis have been one of Altar Records' most anticipated albums? For sure DJ Zen's print has a number of core acts that folks eagerly await new entries in their discographies, but most of them were established producers before joining ranks. Akshan, on the other hand, came practically from nowhere and smashed it with his debut The Tree Of Life, a record easily on par with the best Altar had to offer. You're damn skippy folks would be anxious to see what he'd come up with next!

And boy howdy-dowdy, they didn't have to wait long, his sophomore effort emerging but a year later. Man, at a work clip that fast, Akshan must have over a half-dozen releases by now. Er, not quite, a lone 'unreleased versions' EP coming the same year as The Rise of Atlantis, and nothing else since. There is a previously unheard track on some 2016 compilation from Hadra Records (AstroPilot and Kaya Project also appear), so maybe Vincent Grenier's been laying quiet working on new material in all this time. I dunno' though, you'd think someone who came out so strongly would have parlayed his initial momentum into more material than that, even if but a yearly trickle of tunes on Altar compilations. Was there some falling out? Akshan figuring he said all that he needed to in two albums? Got a better paying job at a lumber mill? The Rise Of Atlantis flopping?

I can't imagine that last one being the case at all. While not as dynamic as The Tree of Life, this is still one solid LP of... y'know, I can't in good conscious call this prog-psy. Yeah, this is out on a prog-psy label, there are sonic markers that remain popular in prog-psy camps, and I'm sure Very Important prog-psy DJs played tunes off here. There isn't much befitting the 'psy' demarcation on here though. Most of the cliches associated with the scene are absent, perhaps a few tonal touches and not much else. I'm more comfortable calling The Rise Of Atlantis a straight-up progressive trance album, with elements of prog-psy. Not to mention soundtracks for fantasy video games and features. Seriously, the opening titular cut should have an epic credits crawl as a camera zooms in on some amazing, CGI-enhanced vista. Reminds me of how Asura opened Life².

All nine tunes are solid offerings of progressive trance, but The Rise Of Atlantis does suffer from one notable flaw: it's all kinda' samey throughout. Akshan doesn't mess with formula, building his tracks with strong rhythms and trancey leads, each tune featuring a good, unique melodic hook at their peaks. Aside from final cut Calling The Ancients though, which hearkens to vintage Juno Reactor, all these tracks maintain a steady, prog-psy pulse, which does deflate the album's flow when each piece ends. Would work much better as a continuous mix, and there is such an option through Altar's Bandcamp. Just a shame the CD didn't have it too.

Various - Reflections Of The Southern Moon

Werkstatt Recordings: 2016

For these holidays, I've returned to the wintery Canadian hinterlands from whence I was once lived. Have family thereabouts, see, but regular work obligations generally don't afford me enough time to take such an expedition into the British Columbian mountains for Xmas shenanigans. Not this year though, time and circumstance affording me enough of a window to make the trek into the snow-cast Okanagan domain for a little family cheer. And though it's been a decade since my last winter sojourn to these high terrains, being back reminds me why I escaped my former exile – it's friggin' cold out here! The first winter I spent in this region many years ago was also my first experience with frostbite, and now, when I stepped outside for a morning stroll, regretting that I forgot my long john's, the whiskers on my face instantly frosting over, it all comes rushing back. I know my West Coast pampered lifestyle has pussified my adaptability to such radical changes in climate, but geez'it, Canadian hinterlands, you needn't remind me of that so viciously!

Thus, what better setting I've set upon myself to review a collection of dark/cold/gothic wave music from Werkstatt Recordings. Titled Reflections Of The Southern Moon, it's a sampler of artists the Greek label has on their roster, some with them since their earliest days. In fact, the duo Resistance Of Independent Music accounted for the bulk of Werkstatt's initial output. They would expand from those gothy sounds into more synth-pop/EBM territory as Paradox Obscur, while also doing solo work as Kriistal Ann and Toxic Razor (who'd also release material as Beatbox Machinery).

Between them, they account for six of the fourteen tracks on this compilation, but seeing as how their material's been integral to Werkstatt's early success, it's seems appropriate they get the lion's share. And hey, provides me with a nice bluffer's guide, as I know very little about the underground side of contemporary darkwave musicians. Oh, you know there's a huge, robust scene of this stuff burbling and churning in the dark recesses of clubland.

So Resistance Of Independent Music do the coldwave thing, Paradox Obscur do the slinky EBM thing, and Kriistal Ann does her operatic synth-pop thing, but what of the rest in this collection? Obsidian Radioactive opts to show two faces of his muse (both under gasmasks), The Fall Of Mankind a simple synth-string instrumental, Gasmasks And Titanium Scaffolds a bruising industrial outing. Dawnrazor, meanwhile, sounds like the sort of coldwave written in hopes of getting noticed by sempei vampires. I mean, even beyond the melodramatic vocals, you also get titles like Rulers Of This World and The Uncountable Callings Of Gothic Crowns. Geometry Combat's more fun, getting in on that EBM action, but still just as overwrought as darkwave can get. Finally, Metal Disco reminds us it's alright to move your electric body to this music if the tunes are funky enough. Well, as funky as music whiter than the pale moonlight can get.

Renaissance Man - The Renaissance Man Project

Turbo: 2011

I feel like I should know more about this duo than I actually do. For sure they were Resident Advisor Approved, this album earning a Best Of 2011 blessing, plus a podcast DJ mix feature – though honestly, everyone in the world of house, techno, tech-house, future garage, and pants gets one of those. When this album popped up in my search for more 2011 material though, I was surprised it came from Turbo. While I'm not as religious a follower of Tiga's Label That Could anymore, I'd like to think I still keep a finger to the pulse of what Mr.Sontag's promoting. Heck, Renaissance Man even appeared on that Brodinski Fabriclive mix (that one with the dude of sardine fingers), a total Turbo love-fest in spirit, if not in actual track selection.

On the other hand, it's not like Renaissance Man has done much else of significant note since coming out with The Renaissance Man Project. Comprised of Ville Haimala and Martti Kaliala, they first emerged with the sort of minimal/tech/fidget house that was all the hipster rage in the late-'00s, but truly broke out as something unique when they started approaching the craft with the ol' 'kitchen sink production' style. Meaning, no sample was off limits for their usage, the less conventional, the better. Even if it makes a track almost unlistenable, it don't matter so long there's some semblance of a tech-haus groove for the rooftop shufflers to sway against. This, of course, is the sort of sound that's utter catnip to discerning music journalist sorts, always on the look-out the most unorthodox music around to claim they were the first to rep it, should it take off in any culturally meaningful way. It made Herbert's Bodily Functions a critical darling, as has many such dalliances by tech-house producers (I recall even Vector Lovers got in on that action once).

I honestly thought The Renaissance Man Project was gonna' be a rather tedious example of this stuff. The first few tracks are all interesting in the myriad samples thrown in, with What Do You Do When You Do What You Do having a decent bump going for it, while Stalker Humanoid features a nifty little hook towards the end. Nonsensus gets grating in its ping-ponging with no direction though, while Damon Nabru has fun with firework samples, and that's about it.

Then Vancouver hits with a bunch of psychedelic ethnic sounds and tribal thump, and suddenly I feel like I'm in the middle of a latter-day Future Sound Of London album! Wow, this tune's wonderful, more like this please!

Sadly, Renaissance Man hits such a high but once again, at the end with anthemic S.O.S.. In between there's more minimalist, bloopy tech-house and goofball sample indulgences, all expertly produced but stuck in '00s-era plod mode. And how can I not mention the CD-bonus twenty-nine minute [Untitled] track featuring twenty-two minutes of silence. Makes me wonder if these guys gave a care for the album format at all.

Phonothek - Red Moon

Cryo Chamber: 2017

If you asked me in early 2016 whether I'd buy Phonothek's second album sight-unheard, I'd have wondered who you were even talking about, the duo not making their debut on Cryo Chamber until mid-2016. I get the inquiry though, how first impressions can go a long way in determining future purchases. Simon Heath's dark ambient label has provided me with a lot of first impressions, more as a means to sate my own morbid curiosity of what sort of music lies behind any particular piece of cover art. Some discoveries have led me digging further into artists' discographies, but most are one-and-done deals for yours truly. That's not a bad thing, time devoted to music exploration limited as is – after casting a wide trawling net, you pick the ones you want to keep, and return the others to the cold, dark sea.

I was totally expecting Phonothek to be one such cast-off. Yeah, the cover art for Lost In Fog has a cool looking tower and all, which was enough for me to scope them out – might it be some sort of Mordor-drone? Beyond that, however, I didn't expect much, the album itself not especially hot on the tongues of dark ambient specialists compared to other frequently name-dropped artists. I sure as heck would never have guessed I'd buy a follow-up album the moment it was announced. There's just something about that trumpet playing though, so alluring, so hypnotizing... so seductive, like an enchantress' mesmerizing dance against a grey, windswept backdrop. Or an apocalyptic Hellscape of a world torn asunder by venturing too far across the Roche limit, in this particular case.

If Lost In Fog dealt with a near-future of barren wastes and emptied societies, Red Moon takes us even further, whatever remnants of civilizations reduced to a feral state even as their world literally collapses around them. Cool concept, bro, though I don't think Phonothek quite reach that level of 'cinematic drone' in this offering. When I think of the end of all that there is, I expect to hear that distinct crushing drone Cryo Chamber is so often replete with across their releases: distant rumbles of earthquakes, or collapsing mountainsides, even cascading thunder storms time-stretched into unearthly roars. Red Moon comes off rather small in scope, less about painting grand canvases and more about relaying the mood and tone of those existing in such a clime'. And boy do those trumpet solos ever portray a bleak, despairing atmosphere indeed.

Again, Phonothek's approach to dark ambient is more in line with modern classical and freeform jazz, utilizing various instruments in unconventional ways to create abstract music. This can range from simple piano, trumpet, woodwinds, or strings, to filtered percussion, orchestral swells, ghostly whispers, or whatever samples are causing that burbling, churning sound throughout. And once again, I find this all strangely hypnotic and entrancing, as though Phonothek are snake charmers, and I'm beholden to their swaying suites of desolate dirges. What, me worry of impending doom?

Wednesday Campanella - Rashōmon

Tsubasa Records: 2013

If you've paid any attention to the comments section this past season, this just might be the singularly most-anticipated review of an artist I've ever done. True, it's just one individual, but I'm sure the rest of y'all were at least a little curious what the fuss was about. And I cannot deny I was somewhat intrigued by the prospects of diving into something I'd never have stumbled upon in my own music wanderings.

Almost everything I've ever consumed from Japan has had some domestic influence and distribution first. Ken Ishii's brand of techno still has ties to Detroit heritage. Hybrid Leisureland's brand of ambient isn't much removed from the works of Brain Eno and Harold Budd. Koichi Sugiyama's orchestral arrangements are practically homages to European classical and American bop. Even J-Pop, the forever soundtrack to every anime credits sequence ever, takes its cues from whatever the West was doing first. It's exceedingly rare that I'll hear music direct and unfiltered from The Land Of The Rising Sun.

This though, there's no mistaking its place of origin. Artist name completely in kanji, the title a reference to a famed samurai (or at least the Akira Kurosawa film of the same name), And just look at this cover, the lead singer dressed in a kimono while chillin' at a tea house. I bet it's some sort of traditional folksy stuff, then, or maybe lounge jazz, in a very Japanese style. Ooh, opera, even! Time to throw some green tea on the stove, order in some take-out sushi, and get culture-fied!

And... it's EDM. Huh. Well, I can honestly say I wasn't expecting that.

I should get into some actual background before going any further. The group involved is 水曜日のカンパネラ, or Suiyōbi no Campanella, or Wednesday Campanella. Comprised of vocalist KOM_I, and producers Kenmochi Hidefumi and Dir.F, the group have gained some note in their homeland for encompassing a myriad of genres with broad appeal, such that they've recently found footholds with Western audiences too. After a few early EPs, Rashōmon gave them their first taste of chart success, though barely so.

As said, the music itself is basically what you'd expect of most EDM this past decade. Tracks like Monopoly, Motoko, Marie Antoinette, and Fujiko do the anthem house thing with big, shiny synths and plucky hooks. Some tracks get in on that light, brisk broken-beat action (Hoshi Ittetsu, Alibaba God Emperor), others paring it down to a chill, lounge pace (Char, Takehisa Yumeji). And while the EDM influences dominate, there are traces of Japanese tonal harmonies and instruments scattered about. As for KOM_I, she sounds nice throughout, hitting enthusiastic vocal highs where appropriate while injecting playful raps here and there. Apparently the lyrics mostly deal with people of historical import, but I wouldn't know, English the only language I've learned with any fluency. Like Latin house though, that doesn't prevent me from enjoying it on a purely dumb level either.

Various - Quinq

Spiritech: 2017

Just how insane is the alphabetical backlog I'm currently trudging through? This is my second 'Q' album in a row. You might recall that I only added a second 'Q' album to my entire collection just last year. This backlog has effectively doubled the quantity of something that previously took up ~0.13% of all the music I have. I've quite often gone on about “The Odds!” and whatnot, but this... this beats all, y'know? I didn't think there were enough 'Q' albums in my very specific niche of musical interests to make this happen – no must-have classics that I can think of at least. Plenty of producers, though.

Quinq was intended as the five year anniversary for Lingua Lustra's tiny yet robust digital label Spiritech. Not only a celebration of staying afloat in an overcrowded ambient market, but a statement of intent to keep the fire burning for as long as possible! Quinq is also apparently Spiritech's final official release, the label discontinuing operations almost right after it came out. Aw, now where will Lingua Lustra flood the market in perpetuity? Everywhere else, that's where! Seriously though, it's a shame they pulled the plug when they did, having just ventured into the demanding domain of physical production. Ah well, at least there's still their Bandcamp page, and its nearly eighty offerings. Not a bad five year run, that.

As per label anniversary rules, Quinq rounds up artists past and present as a showcase of the print's various talents, featuring fresh tunes unused in prior releases. At least, I assume they're unreleased, almost none of these tracks appearing in Lord Discogs' archives. Then again, nearly half of Spiritech's full discography remains unsubmitted to The Lord That Knows All – heck, I've uploaded these past few reviewed items myself. You'd think someone at Spiritech HQ would have been on the ball about that, but I guess Mr. Lustra had better things to do, like making his eighty-zillionth ambient piece.

You think I'm exaggerating, but four of the nine tracks on Quinq come care of ol' Albert Borkent. I guess it's appropriate, seeing as how he made up approximately 77% of Spiritech's output. Interestingly, they're all lumped at the end of the compilation, as though he's letting the other artists have some shine before taking us out with his usual, skillful ambient. Yeah, his music remains kinda' noodly and leans heavily on classic approaches to the genre, but is never boring, with enough field recording touches and dubby treatments keeping you engaged.

Still, I've heard more than plenty from him, thus it's the other artists that pique my interest. Olexa's Lyrical Love has shades of psy-dub, State Azure 's Mono has a chill trance vibe going for it, Ascendant's Sursamen treads into ambient techno's waters, while Data Rebel and Snufmumriko do their own droning ambient takes. Definitely want to check these guys out further. Might even break my 'Buying MP3s Iz Bad' rule to do so.

SiJ & Item Caligo - Queer Reminiscence

Reverse Alignment: 2017

Having taken in more of SiJ's music since my first dabbling last year, I'm surprised he's ended up with a couple albums on Cryo Chamber. For sure his style of dark ambient and sonic experiments works within the label's overall manifesto (cinematic drone, and all that), but his sense of sombre melancholy feels more benign than this genre typically goes. He's less about the bleak outlook and crippling depression, and more about quiet contemplation, reflective of inner struggles rather than chaotic turmoil. Or perhaps it's music capturing the moments following the strife, of accepting complacency, the calm of clarity that comes when all hope is finally lost. Not a cheering thought.

Still, that leaves Mr. Sikach in good company with his latest pairing, Item Caligo. More of a modern classical composer, with distant pianos and crackly strings his most striking features, he's released numerous albums with such reflective titles like The Night Of Escapism, Self-Deception As Rescue, and Go Away, I Want To Sleep. Even more intriguing is a one-time collaboration with a chap named 'i want to be dead' called Lifelong Suicidal Thoughts. According to Lord Discogs, that individual also goes by, Waqs, Serializer, Amen Weed, amphetamine hysteria, Freak Bwoy, 'born to be buried in the grave', I Cry When I Think Of Past, 'my family members were awful so i killed them in a particularly brutal form', and DJ Sailor Moon, among numerous others. I'm not joking.

Sorry for the side-track. Let's get to Queer Reminiscence, an album with song titles like So Terrible To Contemplate, Her Soul Involuntarily Yearned For Rest, It Was Good To Destroy Once Again, Life Loves Your Pain, and a final, fourteen-minute minimalist drone closer called Oblivion Is The Reward Of The Former. Yeah, it's one of those kinds of albums. All aboard the mope-mobile!

Heh, no, not really. Queer Reminiscence does have its brooding tones, but as mentioned, SiJ's craft with this music is often the sort of melancholy that feels strangely warm and comforting, like the embrace of an old, familiar blanket, even as you stare out a frigid window pane into a grey winter landscape. Add in Item Caligo's modern classical touches, and you have yourself an album perfectly suited for those with acute cases of SADS (*cough*). The titular track features forlorn pad work gently ebbing with layers of timbre, Her Soul Involuntarily Yearned For Rest is a soothing piece of traditional ambient, while If Our Hope Not Fades lets Item Caligo indulge the ol' ivories some - I'm assuming, since it's his thing.

Really, Queer Reminiscence mostly sounds like an Item Caligo album, with SiJ providing sonic treatments and field recordings. There's little of the dark ambient that typically keeps him in those folds, the music here more of a modern classical outing with drone tendencies. Good mood music, all said.

(PS: Vincent Villuis gets a 'samples credit' here, which can only mean, eventually, Ultimae's gonna' go dark ambient too!)