Triquetra - Human Control

Suntrip Records: 2020

Can't go through another letter block without also stumbling into another Suntrip CD. And hoo, because this seems to be the lone one among my 'H' albums, it had to make up the lack of representation by dishing out a double-LP! Far as I know, this is the only two-disc album in the label's catalogue. Yeah, there's a couple multi-CD compilations scattered about, but I'm talking original musical material from a singular artist (or duo, in this case).

Come to think of it, double-LPs are generally rare in the psy trance scene, and for good reason: it's just too singular a style of music to warrant it. Whenever they're done, it's usually with a second CD of downtempo or experimental-leaning sounds. Eat Static's Dead Planet or 00.db's Heaven & Hell, as examples within my own collection, though Infected Mushroom's Converting Vegetarians is probably the most well-known one. In more recent years, we've seen a near-glut of multi-disc re-issues of older albums, overstuffed with rarities and b-sides. So which version do we get with Triquetra's Human Control: a chill CD2, or a 'b-side' session?

Kinda' the latter, apparently, disc two a collection of live recordings. They're original tracks, true, but that's not saying much, Misters Elric and Jurian having only released one (1) album and one (1) EP to that point. Besides, as an act that was making their rep on live analog shows, its natural they'd have a stockpile of unreleased material sometimes created in the moment, on the fly, as the party happens. Real free tekno vibes, yo'!

So I was surprised that the 'live' disc is rather... mellow? Like, I don't want to say 'under-produced', but there's no denying it lacks the same amount of beef behind the beats as the studio album. The acid doesn't have quite as much bite, and everything just sounds comparably flat. Not to mention its unmixed, which makes sense since these tracks are from disparate gigs, but doesn't really help sell the notion of this being 'live' and all. On the other hand, there's more didgeridoo, so that's a plus. I dunno', guess it's a nice bonus, but lacking the kinetic energy that comes with live recordings, so that's all it is.

The main disc, then, is that any good? It's more dynamic, that's for sure, though like Triquetra's first album Ecstatic Planet, highly reverential to '90s goa and acid trance. They even go so far as to include that one (1) track (Rotary Reality) with the really goofy drum kick that every psy album had back in the day. The heavier into the acid they dip (Forget About The Earth, Eternal Crusader, Future.exe), the better the track develops, but I'm glad they didn't rely on it as their only crutch. Human Control is just diverse enough for at least one play-through. Whether you'll come back to it often though will boil down to just how much you dig on way-retro goa and psy. The typical Suntrip refrain, amirite?

Res - How I Do

MCA Records: 2001

Another 'out of my element' donation. I've a few of these in the pipeline but that's alright. Some of these artists, I sense they deserve whatever extra shine my little backwater blog can offer. Res wasn't an utter unknown, mind you, something of a staple in the Philly scene since the late '90s, even if she never quite got the same attention as oh-so many others from the region. She actually got her first break providing the chorus on the titular track on GZA's Beneath The Surface, which was enough to at least get the attention of another up-and-comer, producer Martin McKinney.

You've definitely heard his stuff, working with the likes of Drake, John Legend, and The Weeknd, including Starboy, in case you care. Yes, that track, with Daft Punk. Oh, the 'electronic music' connection goes even deeper. Well, maybe not that deep, but I do find it interesting that the lead single for Res' album featured a bunch of clubby remixes from Robbie Rivera, Guiseppe D, Bastone & Burnz, and DJ Encore. Ah, hm, Hed Kandi house and proggy anthems, for a Philly soul singer? Methinks something got twisted in the marketing of this album, which may explain why it did only marginal business for itself.

Honestly though, it could just be the dumb luck of timing, How I Do released when the urban scene was stacked for options. Hell, she was basically going against Destiny's Child's Survivor, Missy Elliot's Miss E... and Alicia Keys' Songs In A Minor. Good luck with that, yo'. No, this album was practically per-ordained to be a slow burner, one rediscovered after the fact, unearthed by connoisseurs of neo-soul a decade or two down the line. Maybe even get enough ground support for a vinyl reissue within our current year. Again, dumb luck of timing.

To my ears, Ms. Ballard has a similar street-soul swagger to her sound reminiscent of Lauren Hill, though as usual, I'm more interested in the musical side of these releases than the actual singing. Opener Golden Boys features grand string sections with a brisk breaks rhythm, while They Say Vision (the original!) goes more loopy with its backing instrumentation, which I guess makes sense why it got all those house remixes. 700 Mile Situation, The Hustler, and I've Known The Garden get real deep in the funky vibes. Ice King gets forlorn. Sittin' Back wouldn't sound out of place cranked from the subs of a lowrider. Let Love almost treads near trip-hop's domain with out-of-tune backing synths – must be that Cure influence. And secret song Say It Anyway (yes, it has one of those) 'rawks' out.

A decent amount of variety, then, though never really pushing any boundaries either. If anything, How I Do sounds like an offshoot of that really famous conglomerate out of Philly, The Roots. Mostly traditionalist, but has enough spunk to stick out for the time it plays. Jeez, Roots and Hill as my obligatory namedrops? What more do you need?

Natural Life Essence - Hidrogenesis / Hidrogenesis 2020

CYAN/Liquid Frog Records: 2014/2018

Took a little longer than usual to find an N:L:E release in the 'H' block, eh? Or not, the Headspace box-set from Urban Meditation artificially inflating how many actual albums I have this go-around. There's just not that many 'H' titled records in my music collection compared to some other letters. Heck, on my initial run eleven years ago (holy cow!), I had just twenty-eight items. That number hasn't even doubled since, and believe me when I say that's hardly the case for other letter blocks ('X' has tripled!).

So Hidrogenesis is the first Natural Life Essence record. The first on his Bandcamp, the first entry on his Discogs page, the first of all-everything. A decade old now too, which means a ten year anniversary version is nigh? Wouldn't surprise me – he did do a '2020' variant, after all – but doesn't look like he's put one out yet. There's a couple [Color] Dots, an Uncharted Land 3, a Random Environments II, a Dune II, and a... Glowing Forest 3? Dang, I didn't even get a Glowing Forest one or two when I bulk-bought his entire catalogue. Relentless, that work rate of his.

Anyway, Hidrogeneis first came out on CYAN, the label Juan Pablo had made his home before they shuttered doors in 2020. It's kind of funny going this far back into his musical development, half expecting his style to not be as fully formed as later works. For sure it's not quite as developed or daring as Bioluminescent Forest or Ecovillage (two totally random examples!), much less the albums that got him that Neotantra bump (Organic Adventures and Dune, for the record). Having so thoroughly digested at least half his catalogue now though, I'm impressed at how solid for a debut this album is.

Right from the jump, Mr. Giacovino shows his hand in fascination for all things micro-organism, titling his opener Moss and all. It's a fairly meditative piece with harmonic bell tones and field recordings, a gentle melody soon sliding in while soft dub rhythms burble in support. Like, if that isn't the N:L:E stylee in a nutshell, then what have I been listening to this past year?

Things also play out in similar fashion as most of his albums, slowly building upon earlier elements such that it feels like you're listening to one long, transitional compostition. Well, if it weren't for all the fades between tracks. Seriously, m'man, just make a 'single mix' version available too!

Maybe he realized this was an issue as well, releasing a twenty-minute, twenty-second long version of Hidrogenesis, in 2018. Well, mostly just the first four tracks in a condensed, restructured form, and sans the low, rumbly bass dubs as heard in Underwater Caravan. A nifty addition if you wanted to hear Moss, Acid Fog and Swamp uninterrupted. As for the back-half of Hidrogenesis, it's even more ambient than the first, harmonies even subtler. Ooh, this could use that 10th Anniversary rejiggering treatment, I wager.

Various - Hidden Realms EP

Omni Music: 2019

Sweet, a drum 'n' bass release. Damn, it's been, like, forever since- Eh? Oh, right, Photek's Form & Function, just a couple months ago. Alright, got me there, but since before that one? You'll have to go back a literal year, to Centaspike's Bent Bound Broken, when I last covered the genre. Blame it on all that psy trance making these gaps artificially vast.

Anyhow, Omni Music. This is a label that kicked off at the start of the '10s, a means of producer Eschaton to release tunes that didn't fit on other, established labels. Not sure how accurate that is, but my recollection of the state of d'n'b back then is a bit sketchy now. Probably not so robust for those who were interested in sounds outside the Pendulum or liquid funk oeuvre. Yeah, there will always be Good Looking Records (as well as Looking Good Records), but surely there was demand for more outlets of jungle on the jazzy, intelligent tip, right.

Must be indeed, Omni Music carrying on to this day, with a catalogue of three-hundred plus records. Oh my, where does one even start with this label, then? For our purposes, it's an EP compilation called Hidden Realms. I... have no memory of why I picked this particular item. Oh, there's a specific reason how I came across Omni, but has nothing to do with this. It wasn't a recent item either, so wouldn't have been an impulse buy upon first stumbling in. Heck, it doesn't even have blue cover art! A mystery for sure.

Whatever, I have it now, so let's dig in. Each track is a collab' effort, the first featuring Enjoy and Pariah. Don't know much about the former, but Pariah had been a staple of the aforementioned Bukem prints early on. And if you know anything about that namedrop, then you should know what sort of d'n'b we're in for. Sonic Void is mostly an ultra-deep techy session, though does pick up in the back-half with a little Amen Break action complimenting the minimalist spacey synths leading the melody. Omni honcho Eschaton follows up with Booca (very little Discogs presence) on Behind The Magenta, a far more jazzy, atmospheric outing with broken beats, operatic choirs, heavenly leads, trombones... A real stew of sounds, but darn cool in a blissy sort of way.

Third track State Of Consciousness is another 'veteran meets newbie' session featuring DJ Trax and Infest (3). It, too, follows the vintage LTJ vibe, with busier drum work but no less chill on the melodic side. The final two producers, Parhelia and Dissident, are relative newcomers compared to the '90s folks, but have still been in the game over a decade now. The Day Of 5 Suns is suitably grand in scope for such a title, conjuring sci-fi vistas and all that. Is this the level of quality for the whole damn Omni Music catalogue? Gosh, only one way to find out! ...but I'm not the person to do so.

Urban Meditation - Headspace V

Carpe Sonum Records: 2022

Here's a tiny morsel of information I haven't touched upon yet, in that I only just discovered it. Apparently the whole Headspace collection wasn't released as a one-shot within a big ol' box-set. Initially, it trickled out over the course of a few months as digital items on Urban Meditation's own Bandcamp. Once all five were out, they were consolidated into a single release, finally culminating in the physical medium made available through Carpe Sonum Records.

See, if I'd been following Charles' music from the start, I would have known this, likely subscribed to his Bandcamp or whatever. But no, I follow Carpe Sonum, so didn't learn of Headspace's existence until they put the box-set together, which is where you'll find everything now anyway. So redundant info all around, which is par for the course whenever I get deep into covering Every. Single. CD. of a box-set.

Thus we come to the end of the Headspace saga, and what a journey it's- Wait a minute! It's already over? Feels like I just started! Oh, right, it's that whole 'actually writing a review every single day' thing I did there, speeding up the process. Kinda' forgot how brisk the process could be when I just focus on something rather than let a zillion ADHD distractions dominate my brain matter. Like what's happening right now!

Anyhow, Headspace V, the finale, the coda, the answer to all your lingering questions. Or, y'know, just a charming collection of ambient techno vibes. Mostly that, not really going anywhere this series hasn't gone before. There's a few more collaborations, a returning Rayspark Industries, and an added Sven Kössler, though it's Michael-Turner Craig who gets the most shine here. No, seriously, at twenty-five minutes long, Space & Time easily takes the crown for longest Headspace piece – only Mr. Urban's solo session of Cranial Atmosphere comes close, lagging a good ten minutes behind. As for the track itself, well, it's definitely got that vintage Fax+ thing going for it, in that it really meanders about in a jam session sort of way. The liner notes claim Si Matthews and Dan Armstrong hopped in as well, but they don't get a Bandcamp credit. Odd.

Oh, the track itself? Yeah, it's spacey, floaty, timey-wimey, spritely, kinda' split into two-halves. Sorry, I know a centrepiece composition like Space & Time should be the main talking point, but I just prefer the gentle ambience of In Dreams or Forever Adrift, the peppier Ocean Of Consciousness (with Sven ...and acid!), and closer Embrace's piano touches and synthy arps. Not to mention their shorter runtimes.

So that's a wrap on Headspace V, and Headspace overall. A cool collection of tunes, if at times overindulgent, though never tastelessly so. Could this have been pruned down to at least a double-LP? Sure, but we live in an age of absolute creative freedom with the outlets to present it. As Pete Namlook would say, “Just release whatever you make, bro'. Someone will like it.” [citation needed]

Urban Meditation - Headspace IV

Carpe Sonum Records: 2022

Ah, here's where I thought things were headed. Honestly though, having the 'peak time' CD be the fourth one out of five does make the most sense. All the build-up leading to the climax, with a nice coda following, its a classic five-act structure, even spread out across five-plus hours of music. I guess you could treat Headspace like a streaming mini-series then, including that one episode in the middle that seems to lose the arc of the meta-plot for a time, the unnecessary bit of padding to reach an episode quota.

So if the radio telescope on the cover art wasn't a clue, technology is the theme of Headspace IV. And to make sure you know that's where we're going, the CD opens with a musique concrete ditty of various digital noises and effects, including that classic internet dial-up noise. Fair enough, but was four minutes of this really necessary? Whatever, Cranial Atmosphere properly kicks things off, and mostly follows upon similar neo-trance vibes as the Si Matthews collab's from Headspace II do. Percolating synth leads, steady techno rhythm, consistent escalation of mood and tone, and dang near sixteen minutes of it too. Again, there's some vintage Jarre songcraft going on, but this feels more modern than those seminal '70s works.

Now for this CD's guest artist, this time being Ambidextrous. Okay, second, Futuregrapher having a credit on that experimental opener, but I'm talking 'real' tracks here. I haven't kept tabs on Nick Zavriev since my mini-splurge on his music a couple years back, finding his sound at times a bit too clinical for repeated plays. He's remained active though, and Simulacrum finds him and Charles working a nice spacey electro vibe, while Thought Network towards the end gets more opulent with the synth work. Dang near overtly happy, come to think of it. Really selling that 'Utopian future' sentiment, eh? Maybe to serve as a contrast to the harsher electro between those two tracks.

Well, 'harsh' is doing some heavy lifting there. Nothing I've heard Urban Meditation would ever suggest negative or pessimistic outlooks, and the only criticism of Data Age is being somewhat aimless as techno. Information Super Highway though, ain't nothing but chipper, happy vibes with a bell melody as a lead and bouncy rhythm like that. Man, the '90s were so optimistic about our technological marvels and possibilities, weren't they.

Or maybe not, closer Searching For Connection a little more sombre and reflective as an ambient piece. That no matter our achievements in the digital realm, we'll always yearn for intimacy in meat-space. Relations not defined by scrolling and follower counts, but those all-too brief moments of soulful meaning. Gosh, when did Headspace IV turn into a Vector Lovers album?

Anyhow, this is probably my favourite of the five, though it's not without its minor issues either. Like, how does it feel shorter than the actual shortest Headspace III? One too many experimental interstitials? Weird how that works.

Urban Meditation - Headspace III

Carpe Sonum Records: 2022

Well, I thought things were gonna' ramp up with each CD in this multi-disc album, and the start of Headspace III certainly portends as such. Another two-part track, the first At Home features more soft electro rhythms while bright and bold synths weave a charming melody. Actually, some of these synths are almost too garish, in the same way some early Berlin-School sounds weren't quite refined yet. Not really a deal breaker for the track overall, but I cannot deny being relieved you don't hear them as much in Part 2. And as for this track, if it doesn't get your ol' school Jarre triggers flaring, then you have some homework to do, son.

So a solid set of openers for this CD, but then Mr. Urban scales things right back with Inner Circles, a minimalist piece of ambient music with gentle piano and field recordings. Hey, it's like an urban meditation! Feels kinda' funny it took this long into Headspace to feature a track that lives up the project's name. I kid, but it is a surprising downswing in tempo from the opener, and when I spotted Canopy Of Stars as a guest feature for follow-up Lost In Thought, I started wondering if we were remaining in ambient's domain after all. Don't get me wrong, I quite enjoy hearing more of Mr. Wheeldon's sense of cosmic grandeur, even as subtly tempered as they are here.

Yet after that, we're treated to another beatless piece leaning into modern classical's domain. Well, okay then, if this is how we're doing Headspace III, so be it. Just thought it'd be better to keep the momentum going after Headspace II. Like, if the whole of Headspace was to be taken as one, singular listening session, having this much downtime in the middle could lose folks. Perhaps that's the intent, offering a gentle respite where you can maybe catch a quick cat nap in this marathon of music without missing much. Or maybe one should just listen these individually as the appropriate mood arises. Which variant of Headspace ambience do you prefer this evening: the spacier I, or the more grounded III?

So you can imagine my whiplash in hearing Myriad Things going even more opulent with the synth work than At Home. Who'd think the groovy acid featured in follow-up Reflected Within would be the comedown I needed after (thanks, Si Matthews, I wager). A weird diversion from the tone thus far established in III, especially when closer Nightfall brings things right back down to piano doodling again.

There is something of a naturalistic theme going for Headspace III, whenever it goes there. Other times though, it feels like the CD that has the 'leftovers' of this whole project lumped into, the tracks that simply wouldn't fit elsewhere. Something as ambitious as this was bound to have pieces like that, especially when including collaborations with others. Does this hold true for the remaining two? Stay tuned...!

Urban Meditation - Headspace II

Carpe Sonum Records: 2022

This is the part where, when doing a box-set, I wax extended info about the artists involved, or the label supporting it. Maybe even digging a little deeper into the genre itself. Y'know, anything to fill self-imposed word count as I carry on. I don't really have much more I can detail with this one though. As mentioned, Urban Meditation is a relative newcomer to this scene, having initially made his mark on some Carpe Sonum compilations before getting the green light to release full-lengths. He did float around a couple other labels after (Fantasy Enhancing, Móatún 7, that one that released the Adykt double-discer), but the Sonum crew seems to be his primary residence for now.

And as for the label itself, well, I've been covering them for almost as long as they've existed – think I was only a year behind their launch. *checks* Okay, technically two, as Carpe Sonum spent 2013 releasing a few items that got lost in the wake of Fax+'s shuttering, but I'm talking when they properly launched, with original material intended to follow the success of the monumental, compendious Pete Namlook tribute box-set Die Welt Ist Klang. Boy, it always comes back to that, doesn't it? Not with Charles Urban though, having missed the big ol' Irish wake of a musical party that was.

Was he not yet confident in his music-making ability to contribute to it? Or didn't quite make the cut? I mean, yeah, there were a lot of artists that had their tracks added, some for the first time ever having material officially released. Even with four CDs worth on non-Fax+ alum included though, some had to be left behind. Hm, makes me wonder if Mr. Urban was one such artist, and having a quintuple-LP album released is sort of Carpe Sonum's way of making it up to him. Now that's a silly conspiracy!

Anyhow, Headspace II is where things start kicking off with higher tempos. Even opener Thought Garden brings da' beats! Okay, I'm exaggerating, the rhythms mostly a light pitter-patter of electro, spritely synths and arps the main driving force of momentum. Even when things 'calm down' in follow-up Cloud Terrain (real floaty arps) and Into The Void (darker experimental piece that goes a tad too long), there's still some continued sense of pace throughout.

The centrepiece of Headspace II is easily the Si Matthews double-collab' of Dreaming Of The Stars and New Horizons, and not just because both feature a steady techno pulse as layers of synth arps dance along. Okay, it's primarily that, but also that twenty-minute plus runtime between the two tracks, which really makes the whole session feel like one long neo-trance jam. Final track Flight Home tries ending Headspace II on cosmic Berlin-School ambient grandeur, but doesn't quite hit the same hypnotic high as the Si Matthews tracks achieved. Still, a solid finish for this CD, building upon the very ambient first. Dang, just how peppy will these get?

Urban Meditation - Headspace I

Carpe Sonum Records: 2022

You'd think releasing a five-LP album is utter overkill, but that's just how Urban Meditation rolls. Come to think of it, that's how a number of modern electronic music producers roll. Readily to mind comes Autechre's elseq and NTS Session runs, or even Underworld's Drift series. And who's to say any number of noodly ambient composers couldn't consolidate their two-to-three albums per year into a single package? To actually have a spiffy box-set of the stuff released, however, takes a little more gumption, not to mention the blessing of a label willing to finance said hard-copy roll-out.

Charles Urban somehow got the deed done though, Carpe Sonum Records serving up a five-CD extravaganza of Headspace. He'd already made a debut there with 20 Years In Space, an item I've had my eye on for a long time, but simply haven't committed to yet. Like, it looks right up my alley, space music and all, but perhaps that's the reason why? Too obvious a pick, so lets put that on the back-burner while I explore some other items from the label. CD of that still hasn't sold out, so I can wait it out, especially now that I've got this multidisc release from him to gorge myself in the meanwhile.

What is Headspace, then? Five albums bundled into one package, or a singular album broken up into five long-play tracks with smaller compositions within? Kinda' yes to both. Mr. Urban claims these are best enjoyed as five singular tracks, and even offers the digital option of singular playthroughs of each CD. There are tracks within each Headspace though, making them distinct albums with distinct compositions. So, a bit like those Dark Side Of The Moog sessions between Klaus Schulze and Pete Namlook, except bound together as one box-set rather than individually released albums. Have I not mentioned said artists being an inspiration for ol' Charles, even going so far as to name one of his albums The Dark Side Of The Mix? Well, this is a Carpe Sonum release, thought that went without saying.

And yes, because you can take each Headspace as its own album, I'll be reviewing Every. Single. One. Starting with Headspace I. Shocking, I know.

Actually, I don't have too much to say about it, being the most ambient of the quintet. If the space theme wasn't apparent to start, track titles like Detach – Adrift, Interstellar Dust, Voyager I, and Voyager II should clue you in. It's all very calm, introspective, with moments of grandeur, and even a little rhythmic in Voyager II.

I fear going into more details than that, however, as it may leave me with little else to review in the following CDs. Gotta' save some of that vocabulary verbosity for later. After all, I've learned the hard way that getting deep in a particular artist's sonic tricks too early doesn't leave much material for later. How many more N:L:E releases do I still have to cover again? That many? *sigh*

Franck Vigroux - Grand Bal

Aesthetical: 2024

While there are elements of this release that might have lured in me regardless (hot neon signs do that), it was where I spotted it that made it an instant pick-up. Aesthetical is the name of the label, which I know little about, mostly because it's only been in existence for half a decade with just nine releases under its belt. Not terribly robust, but sometimes that's the way sub-labels work, the 'dumping ground' for items a regular print's head-honcho likes, but knows won't fit with the regular catalogue. Okay, not that harsh, but you know what I mean.

What I'm trying to say in a roundabout, AI-scarping messing way, is Grand Bal just wouldn't fit on Cyclic Law, so here it is on Aesthetical instead. Yep, the parent label to this industrial synthwave outing is none other than one of dark ambient's luminaries. I honestly hadn't scoped them out for quite a spell, only the occasional glance since my initial deep dive into the genre, but boy, have they remained busy since. May be worth my while to splurge on them again, if I ever feel that need of a depressive respite again as I did way back when. *glances at the world a moment*

So some sub-labels emerged, a place where Franck Vigroux could find a home. Not that the chap needed help finding one, having a music career spanning just as long as Cyclic Law has existed, his early years mostly spent on D'Autres Cordes. When Aesthetical became a thing, he helped kick the sub-label off with Totem, following that with Atonal a couple years after. Which finally leads us to Grand Bal, and album that... Well, I don't want to make any broad proclamations about it, as I haven't taken in any other releases from Mr. Vigroux or Aesthetical to hear whether its typical or not. I rather suspect not, but even this record is quite all over the place. In a good way!

So yeah, there is a bit of a synthwave vibe going on here, but not in the super-obvious way the genre tends to go – Franck's too experienced a musician to do that. If anything, Grand Bal almost deconstructs what you might expect out of the darksynth dudes. Opener Loïc definitely pumps and pounds with a caustic edge like something from GosT, but takes things further into a chaotic climax of noise. *phew* Need a breather from that, so follow-up Le Bal goes all ambient and calm and oh dear, those layers are growing ever more distorted and overbearing and piercing. Ah, there's the Cyclic Law bridge.

Some tracks lean heavier into the Trent Reznor school of industrial score-scapes (Jolin, Lightnin'), others weaving back to dark-synth territory (68) or pastiches of '80s inspiration (L.A. Live, Vice). On paper, it seems all straight-forward enough, but because Franck doesn't get too bogged in micro-genre purity, there's a nice, looseness in his songcraft, each song's aesthetic in service of its musical aim.