VA ::: Tasogare Live in Tokyo Folder

VA ::: Tasogare Live in Tokyo Folder
Genre : Electronic, Ambient, Drone

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01-minamo live in tokyo april 11 2010
02-sawako and hofli live in tokyo april 10 2010
03-moskitoo live in tokyo april 10 2010
04-solo andata live in tokyo april 10 2010
05-taylor deupree live in tokyo april 11 2010

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12k compilations are always a treat, and this bumper set of live recordings is no different. Collecting five sets from performances of Tokyo, we get long-form improvisations and compositions from Moskitoo, Sawako + Hofli, Solo Andata, Minamo and Taylor Deupree to boot. Already with names like this you should know you’re getting quality, and the tracks don’t disappoint. Minamo kicks off proceeding with an effortlessly warming ten minutes of guitar drenched electronic bliss. With rotating oscillators and swathes of ambient noise the acoustic guitar soars into the eventual cloud of delicate hum and sublime transcendence. My pick of the set comes from Aussie duo Solo Andata, who continue their streak of top-form business with a twenty minute slice of dark, Thomas Koner-influenced sub-sonic ambience. This is a much-needed yang to the near-twee of Sawako and Moskitoo, and as the disc comes to a close with Taylor Deupree’s gorgeous, dusty fifteen minute composition you’ll know all is right with the world.

V.A - The silence was warm vol.3

V.A - The silence was warm vol.3
Genre : Electronic, Ambient, Drone

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disc 1:
1. melodium – ritournelle
2. taishin inoue - dystopian air castle
3. talvihorros – rusak
4. hakobune - shimokume
5. teruyuki nobuchika - a day
6. shotahirama - conversation peace
7. flotel – yclept
8. konntinent - caster
9. hessien - falling down around us
10. the 2nd colony - yarn
11. melodium - the decline of iron

disc 2:
1. umin - F/re
2. line spectra - III
3. maps and diagrams - a view from below
4. retina.it - we've seen things hit Jupiter before
5. yu miyashita - telomere stop
6. ard bit - tois
7. darren mcclure - shibuya module reform
8. set in sand - relax on a deeper level
9. thisquietarmy - sunday regenerating
10. amorph - waves
11. hopeless local marching band - and the man cannot describe himself

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Consider a Japanese equivalent of the Kompakt’s pop ambient series, but approached through the lens of sound art and experimental domains, and you begin to have an impression of The Silence was Warm Vol. 3. Compiled by Kentaro Togawa this double cd spans 22 tracks that in some manner or form approach the theme of ‘rebuild’. The artists included form three subgroups, Symbolic Interaction artists; Melodium, Set in Sand, Konntinent, Ard Bit, Hakobune and Darren McClure, Japanese artists; Teruyuki Nobuchila, Yu Miyashita, Taishin Inoue, shotahirama , Hopeless Local Marching Band, the 2nd colony and overseas artists; Retina.it, Flotel, thisquietarmy, Maps and Diagrams, Umin, Talvihorros, Amorph, Hessien, Line Spectra.

Edited highlights of the album start with the minimal bright electronic with kooky clatter beat with warbling melody of ‘Ritournelle’ by Melodium. Talivhorro’s ‘Rusak’ plunges into post rock landscape of acoustic guitar meets soundscaping with electronics in a recurring tone and wired out electric guitar playing distant background sculptural noise which becomes more integral to the soundscape. Teruyki Nobuchika presents a more modern classical piano with pristine tonal electronic signals pulsing through the mix in ‘A Day’. Maps and Diagrams ‘A view from below’ is the closest to a ambient groove track on the album with static warmth and crackle and a slow paced dubbed electronic track. Darren McClure produces a full textured ‘Shibuya Module Reform’ with close miked up effects on objects, bells, bowls, scraping of surfaces wielded into sonic shapes amidst drones, weaving guitars in and out, all forming a sharp dimensional form. The Hopeless Marching Band finish off the compilation with ‘and the man cannot describe himself’ a slow slightly off kilter piano and effects moving into a melancholic drumbeat piano denouement of a track, as if signalling the carnival is over but the sound is still fused in their display, playing the downbeat into a post-rock wall of guitar fuzz and the party is over.

It’s a compilation consistent high standards with its production and mastering by Rudi Arapahoe crisp and dimensional. Covering areas of ambient, glitch, modern classical, drone, post-rock and soundart it is a comprehensive round-up of the edge of contemporary experimental ambient in Japan and beyond

Ossining ::: I Will Be Missed

Ossining ::: I Will Be Missed
Genre : Electronic, Ambient, Drone

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01 Mirror Warmer
02 Go For Pinks
03 Moons

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Super-limited pressing of just 150 copies for the world - if you're into Oneohtrix Point Never, don't miss this* Digitalis activist Brad Rose maps out three passages to synthetic galaxies with Kevin Danchisko of Sovetskaya Gone. For the keenest of observers, they dropped two tapes last year, but 'I Will Be Missed' is their first vinyl release, containing three new tracks of vast and mysterious drones punctuated with starbursting synth patterns and a wide-eyed effect harking back to early 90s ambient qualities with a nod to narcotically laced Americana that fand of Oneohtrix will adore. However, as it's a Digitalis release, there's something disturbed and just a little squinted lurking in the background, especially with the lengthy A-side composition 'Mirror Warmer'. The near psilocybic queerness of the melodies and spacious harmonics also recall Leyland Kirby's distorted memories but threaded with howling inhuman voices shrieking way back in the ether while the symphony continues to phosphoresce regardless, almost ignorant of the pain underneath. On the other side the choral voices (or are they just synths?) of 'Go For Pinks' recaptures the spirit of a chill-out room for a midwest American rave, but with a more sinister, brown speckled twist. 'Moons' completes the album with stray arpeggiations, godly vocal harmonics and bloopy sequences masking an underlying tension, perhaps saying that this form of dosed-up, lethargic escapism has something intrinsically wrong and unusually disturbing. Fans of feeling strange should book themselves on this trip without delay...

Tim Hecker ::: Ravedeath, 1972

Tim Hecker ::: Ravedeath, 1972
Genre : Electronic, Ambient, IDM

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01. The Piano Drop
02. In the Fog: I-III
03. No Drums
04. Hatred of Music: I-II
05. Analog Paralysis, 1978
06. Studio Suicide, 1980
07. In the Air: I-III

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Tim Hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

While the title of the piece "Hatred of Music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all.

Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker's continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force.