Evening of Light

Review: The Gray Field Recordings – Nature Desires Nature (2012)

admin — Wed, 09 May 2012 10:35:12 +0000

artist: The Gray Field Recordings
release: Nature Desires Nature
format: CD-R
year of release: 2012
label: Reverb Worship
duration: 44:12

detailed info: discogs.com

Consistently far too deep below the radar, The Gray Field Recordings is one of those artists that operate in a unique and fascinating area at the crossroads of experimental folk and electronica, yet whom I rarely see mentioned by anyone else. I’ve been touting the virtues of R. Loftiss‘ project since the beginning of this website in 2006, and it’s good to see this latest album picked up by a prolific underground label such as Reverb Worship, though once more in a limited edition of 51 copies, an amount that should be sold at least five times over based on the quality of the music Loftiss has put out in the past eight years.

Previous album The Weaver’s Daughter was one of my favourite records of 2009, and thankfully Nature Desires Nature follows in its stylistic footsteps. Opener “Nature” combines dark guitar drones with deep strings and other instruments by guest artists with semi-melodic spoken word by Loftiss herself and Mike Seed. The second track is even more typical of the TGFR sound, with Loftiss’ wispily echoing spoken word pieces rolling over a minimal e-piano melody, and unnerving samples of rustling and cracking wood.

The folk inspirations for this music are directly on display in a dark rendition of “Willow Waly”, one of the few occasions where Loftiss herself sings on this album. Justin Jones‘ violin work also comes to prominence here, another steady and excellent guest artists on TGFR albums. A couple more impressions: “A Descent” is a long, minimal piece with eerie voices and drones, whereas “Scared of Wolves” is a nervous fairytale piece, featuring spoken word by Alan Trench (Twelve Thousand Days, World Serpent) and building up to a noisy climax. The double final track, then, is one of the oddest pieces, with an out-of-place (though nothing is truly out-of-place in this music) funfair melody and Loftiss singing in a thin voice, again devolving into wild noise and a short coda.

As you will be able to deduce, this is a pretty gloomy album, but brimming with atmosphere. Unnerving snatches of old songs, environmental sounds, ghosts, stars, these are but a few of the images Nature Desires Nature brings me. It’s perhaps a touch less melancholic than the previous album, and has a few more tracks with longer minimal drones, but that only serves to set it apart enough and prevent it from being a copy. Once more, I can only heartily recommend this excellent latest album by The Gray Field Recordings, and it is my wish that these recommendations don’t fall on too many deaf ears.

Reviewed by O.S.

Tracklist:

1. Nature (5:03)
2. The Maple Seldom Inward Sound (4:06)
3. Willow Waly (3:57)
4. Star Bells (1:54)
5. A Descent (6:10)
6. Scared Of Wolves (5:20)
7. Honey Locust (5:26)
8. Cherubim Wheels (5:07)
9.1. A Little World (4:49)
9.2. In A Field Or Far Away… (2:20)

Cloudscape #26: May 2012

admin — Fri, 04 May 2012 21:33:18 +0000

Cloudscape #26: May 2012 by Evening Of Light on Mixcloud

Review: Sieben – No Less Than All (2012)

admin — Thu, 03 May 2012 09:21:54 +0000

artist: Sieben
release: No Less Than All
format: CD, LP
year of release: 2012
lable: Redroom
duration: 47:10

detailed info: discogs.com

As Sieben, Matt Howden has been nothing if not consistent, maintaining his original voice as both a frequent live performer and a studio artist and technician. His violin looping and layering technique and singing voice make him a unique and instantly recognisable artist, even after over fifteen years of work.

The last two studio albums (As They Should Sound excluded, as it concerns reworkings of older tracks) have marked a direction deeper into rock territory, and No Less Than All is the latest and most rigorous step in that direction. Mind you, it’s still violin-based, but most of the songs on these albums have a solid underpinning of bass and percussion, just not played on the traditional instruments. The compositions however, are song-based, and derive their appeal from track-specific hooks and rhythms.

Howden’s sophistication as a songwriter and producer often shines through, whether it is in funky plodding tracks like “Shake the Tree” or the more uptempo opener “Music Is Light”. The use of different vocal angles and layerings is also more apparent on this album, all contributing to a very polished sound. The cover of Joy Division‘s classic “Transmission” is a bullseye as well, a velvety production sound, but with all of the energy of the original. A downside, though, is that it has more of that energy than most of Howden’s own compositions on this album, and the second half of the album falls a bit flat. Each of the songs makes me go “yes, well done”, but only rarely am I truly gripped by the tracks on display here.

At such times I feel it might have been better if the new straightforward style had been tempered a bit with the more expansive composition featured in some of Howden’s solo works under his own name, or the more conceptual albums from around the 2005 era. Looking back, it was albums like Ogham inside the Night and High Broad Field that truly got me into Sieben, and these haven’t been truly equalled by any of the later albums.

That said, No Less Than All is likely to deliver enough quality listening time for many Sieben fans, and it serves as a fine and catchy introduction to Matt Howden’s impressive and thoroughly original oeuvre for those who are just having a look for the first time.

Reviewed by O.S.

Tracklist:

1. Music Is Light (5:30)
2. Preacher Online (3:23)
3. I Saw A Face (3:55)
4. Vonnegut (3:54)
5. Transmission (3:25)
6. Shake The Tree (4:16)
7. Black Dog Day (4:14)
8. No Ordinary Life (4:08)
9. He Can Delve In Hearts (3:45)
10. In A Train (4:07)
11. No Less Than All (4:34)
12. Music Is Light, Part II (Play Me Again) (1:59)

Review: Zvuku – Other Room Listening (2012)

admin — Tue, 01 May 2012 10:07:21 +0000

artist: Zvuku
release: Other Room Listening
format: CD-R, Digital
year of release: 2012
label: Futuresequence
duration: 41:23

With all my dejection over stagnation in music in recent years and critiques of nostalgia and retro-mindedness hanging in the air everywhere, it’s nice to be reminded that I can still be thoroughly impressed by somebody’s album-length debut. Enter Zvuku, the project of Irishman Karl McGrath. I’d become familiar with Zvuku’s music through the lovely free SEQUENCE compilations put out by Futuresequence earlier, and the tracks “Woodpile” and “Cold” have featured in our Evening of Light Cloudscapes before. These tracks already stood out greatly from the rest because of their clarity of composition and sound; a simple plucked violin loop, piano-based sound layerings, etc. Two EPs were put out earlier as well, but Other Room Listening is the first full-length album.

The appeal of Zvuku’s sound textures derives in part from the use of such acoustic instruments (piano, guitar, violin) as basic input for the music. Throughout this album, melodies are presented as is, or layered with more or less intense manipulations: reverb, static, loops. This sense of drifting in-and-out of direct audibility is the central feature of the often ghost-like tracks on Other Room Listening, and the title itself indicates part of that experience. Some parts of the music are heard as if somewhere else, in some metaphorical other room.

Opener “Logpile” sounds like an abstracted version of that earlier track, “Woodpile”, redone in the style of this album, with more of an emphasis on rushing waves of sound and ambiences, rather than staccato melodies. The longest track, “Cold Yellow Red Blue” takes this to the extreme, several parts being washed in gorgeous static, like shoegaze without the rock part, but ending at the same time in a clean, fragile piano piece. The rest of the tracks, two of medium length, two short, continue this theme of melancholic melodies and alternations between direct and hazy sound.

At times, Zvuku’s music recalls recent works by Richard Moult or Richard Skelton, in the sense that they too often rely on manipulation of acoustic instruments to generate soundscapes and other extended compositions. I’d have to say that Zvuku’s approach is less repetitive in terms of looping than Skelton’s music, more varied in instruments than Moult’s, though absolutely nothing to the detriment of those artists. What I mean to say is that Zvuku has a very strong musical voice of its own, but one with stylistic parallels in the work of others. That voice of McGrath’s is as convincing here in forty minutes as on his earlier, shorter works, or perhaps even more, and he can be proud of this first album, a masterpiece in the traditional sense: a test of skill that proves a former apprentice has got what it takes.

Essential listening for lovers of ambient and electro-acoustic works. There is a limited edition of 50 copies on CD-R with art print – lovely design by the label – but after that the album will remain available as a digital download.

Reviewed by O.S.

Tracklist:

1. Logpile (6:35)
2. Cold Yellow Red Blue (17:48)
3. The Long Walk (3:51)
4. Matches/Sticks (5:59)
5. Cold Yellow Reprise (1:59)
6. Lastone (5:13)

Review: Baldruin – Nachtfalter (2012)

admin — Sun, 29 Apr 2012 09:48:08 +0000

artist: Baldruin
release: Nachtfalter
format: MC
year of release: 2012
label: Brave Mysteries
duration: 29:57

detailed info: discogs.com

A new name on the Brave Mysteries label is the Bavarian artist Baldruin (Johannes Schebler), who’s had a few earlier tape releases. The latest album displays this solo artist’s love for mysterious and uncanny freefolk sounds.

It’s a mix of different acoustic instruments (strings, flutes, percussion, voices) with added effects and manipulations – a style that you don’t hear too often, but which has its parallels in the music of The Gray Field Recordings, Xenis Emputae Travelling Band, and Robin Crutchfield. The short snippets that form the tracks on Nachtfalter (‘Night Butterfly’) are like glimpses into a nocturnal fairytale forest, and that should be interpreted in the darker primordial sense, rather than with Disneyfied connotations. There is a sense of lurking danger in the music, and fear, but also moments of wonder and fascinating mystery.

Though I wouldn’t consider the style of this album extremely original, it’s not like you hear this kind of album every day either. Besides, Baldruin’s compositions proceed at a pace that brings variety, with something new around the corner every two or three minutes. As such, Nachtfalter is well worth the low price of a tape album, especially if you favour the darker and quirkier sides of folk and acoustic improvisations.

Reviewed by O.S.

Tracklist:

1. Irrweg (1:20)
2. Wildwuchs (3:20)
3. Undine (3:09)
4. Hohlraum (1:37)
5. Am Hang (2:57)
6. Sackgasse (2:25)

7. Siebente Reise (3:41)
8. Spiegelung (1:11)
9. Weit DrauBen (3:11)
10. Schünwunde (2:19)
11. Die Purpurinsel (3:42)
12. Xerocomus (1:05)

Review: Taskerlands (2012)

admin — Tue, 24 Apr 2012 12:34:18 +0000

artist: Taskerlands
release: Taskerlands
format: 2×3″ CD, CD
year of release: 2012
label: Time Released Sound
duration: 41:44

Lately I’ve been toying around with the idea that one of the most significant developments in the recent history of music is the (rere)revival of folk, and particularly the new horizons subsequently explored by artists involved in this revival. While I won’t derail this review with too much contemplation of that musical current, let me at least say that the highly individual developments that some artists undergo are often combined in this network-organised scene in collaboration albums, and these can result in even more intricate musical evolutions.

More concretely: Taskerlands is the love child of Michael Tanner (Plinth, The A. Lords) and David Colohan (Agitated Radio Pilot, Raising Holy Sparks), whose paths crossed earlier in United Bible Studies. Both are artists who have carved an impressive niche for themselves in that loose international network of musicians that might very well be a current, working not only solo in a variety of acoustic, electronic, and folk-inspired ways, but also as supporting musicians for many other artists. This album, however, is the first where both come together as a creative duo, fusing their unique styles in something sounds unmistakably like something ‘Tanner and Colohan’, yet which you’d be hard put to hear anywhere else.

Even more concretely: this means two twenty-minute soundscapes, based on flowing melodies and drones for guitar and effects, with added colour in the form of bass clarinet (Seán Mac Erlaine, previously working as Sean Òg), piano (Kerrie Robinson), and ‘frequencies’ (Richard Moult). Though there are at least two small breaks, both pieces can be considered part of one big whole which breathes the gentle atmosphere that corresponds perfectly to the titles they chose for these tracks: as if a landscape – as green as Britain or Ireland – was submerged under the ocean, and we could pass through its terrain with the ease of a fish, taking in the fusion of an aquatic landscape with one that used to be dry, and wondering at the sights.

In terms of composition or improvisation – perhaps a combination of both – Taskerlands runs the gamut from minimal music and ambient pioneering to gentle free jazz and the pastoral atmospheres of psychedelic folk, elements we could already find in parts of both Plinth’s and Agitated Radio Pilot’s oeuvre, but nowhere as intensely merged as on this marvellous album. The combination of soft meandering melodies and a melancholic droning touch is something both men excel in.

If my first paragraph makes sense, then this project is something of a poster child for the musical movement I’m as yet struggling to describe, in which folk influences meet up with ambient and jazz, and so much more. Not only that, but it is a luscious work simply as it stands, without its historical context.Time Released Sound should be honoured to be releasing this end of April, in a special handmade boxed edition, as well as a regular CD following later. I for one am going to cherish this as much as some of the other brilliant works by these artists, and so should you. Here’s hoping they’ll get together again some time.

Reviewed by O.S.

Tracklist:

1. In Forests Submerg’d, No Season Brooks Heeding (20:53)

2. Drowned Land Bridges Of Britain (For Clement Reid) (20:51)

Review: Vox Populi! – Mystic Entertainment (2009)

admin — Sun, 15 Apr 2012 18:03:22 +0000

artist: Vox Populi!
release: Mystic Entertainment
format: CD
year of release: 2009
label: Infrastition
duration: 77:19

detailed info: discogs.com

Mystic Entertainment is something of an archival release, spanning the years 1984-2009, and it served as my introduction to the music of Vox Populi!. Though this French band is probably known by those who specialise in the history of industrial in various European countries, I don’t believe it ever gained a lot of prominence in the international music world. This is partially understandable from the sound as it is showcased on this album, which deviates quite strongly from that of some of the more well-known industrial pioneers from the eighties. Focusing less on harsh and mechanical sounds, the music of Vox Populi! has a much stronger influx of middle-eastern folk, coupled with synth works and an atmosphere that is often dreamlike and upbeat.

The core of the band consists of songwriter, vocalist and instrumentalist Axel Kyrou, lead singer and guitarist Mitra Kyrou-Khalatbari, and Arach Khalatbari, who adds percussion, voice, and various other instruments. In addition, a great deal of guest musicians collected throughout the years add a low of flavour on different tracks. Lyrics alternate between French and if the folk song “Chirine” is anything to go by, Persian.

And the tracks are many, averaging around three minutes apiece, which keeps the album flowing along nicely. It’s surprising how well they all mesh together, even though they come from different periods and are haphazardly, not chronologically, mixed. That doesn’t mean there is no variation or development in the band’s sound. Just a sample: “Crépuscule Sur Alamout” has a repetitive guitar base with voice, violin, and tabla. “Gizigini” is a very uplifting, bass-heavy track with a variety of instruments and percussions, as is the happy “Letsam La”. On the other hand, there are a few calmer tracks, such as the melancholic “Be Modar”, and the mystical setar-based “Deltangui”, where the synthetic rhythm flows together perfectly with the percussion, acoustic melody and voice.

Despite the disparate source material, Mystic Entertainment works very well as a whole, and it’s great to be able to rediscover the band on CD, as this is the first proper release of their work in twenty years. In short, essential listening for those interested in the variety of sounds that arose in the European underground of the early eighties, especially the blending of industrial and synth music with folk.

Reviewed by O.S.

Tracklist:

1. Chaque Jour Est Un Bon Jour (1993) (1:55)
2. Crépuscule Sur Alamout (1992, 2009) (5:32)
3. Bedroud (1984) (2:16)
4. Gizigini (1993) (3:14)
5. Douneye Achk (1998, 2009) (3:32)
6. Gol Bekarim (1993) (3:12)
7. Le Son Est Ton Nom (1993) (4:27)
8. Chapati Train (1993) (1:53)
9. Indian Bloom (1994) (2:26)
10. Chirine (1990) (3:06)
11. Getting To Know Saturn (1992) (1:55)
12. Letsam La (1993) (3:39)
13. Be Modar (1985) (3:31)
14. Tu Renverses Encore ! (1989) (0:07)
15. Charob (2000, 2009) (2:33)
16. Doumai V3 (1998, 2007) (2:10)
17. Getting To Know The Moon (1993) (2:56)
18. Icucme (1996) (3:33)
19. Sunshine Boys And The Time Keeper (1990) (3:08)
20. Managana (2001) (2:09)
21. Koro Song (1989, 2001) (3:16)
22. Remembering Ancient Fights (1987) (3:01)
23. Deltangui (1985) (5:30)
24. Atacumba’s Power Meditation (1991) (2:26)
25. An Ethereal Vision (1992) (4:52)
26. Clothes For The Nude Emperor (1986) (1:00)

Cloudscape #25: April 2012

admin — Wed, 04 Apr 2012 18:39:02 +0000

Cloudscape #25: April 2012 by Evening Of Light on Mixcloud

March 2012 Short Reviews

admin — Sat, 31 Mar 2012 13:40:55 +0000

In the Event of My Disappearance

Agitated Radio Pilot - In the Event of My Disappearance [discogs]

Alongside our own double release, In the Event of My Disappearance, released on China’s Midnight Productions, is one of the final ARP releases. And a fine one it is! Dave Colohan focuses mostly on piano-driven songs here, which is a new route compared to earlier albums. The songs are sparse, calm, and feature subtle additions of other instruments and vocals by guest artists like Michael Tanner and Yasmin Chaudhry.

All of the tracks breathe that calm beauty that characterises much of Colohan’s work, but “Breath of Bells” must be the absolute standout, a gripping song with intense chorus climaxes on ebowed guitar. Some of the tracks stretch out into soundscapes, and the 20+ minute ambient EP The Lunar Arcane is added as a lovely bonus track on this release. An essential release for ARP fans, and as always, worth a try for everyone with an ear for singer/songwriter and ambient drone crossovers.

The Pattern Beneath the Plow Parts 1&2

The Owl Service - The Pattern Beneath the Plow Parts 1 & 2 [discogs]

This double album collects two earlier Owl Service releases (The Burn Comes Down and The View from a Hill), as well as a selection of bonus tracks, good for nigh on two hours of traditional and revival-inspired British folk. The first disc focuses on some classic Robert Burns poems and songs, and I’m particularly fond of “When a Man’s in Love”, sung by guest vocalist and labelmate Roshi Nasehi. Of the plentiful bonus tracks on disc 1, the Gently Johnny-esque “Wake the Vaulted Echo” is rather nice (as is the Tigon remix on John Barleycorn Reborn). The longer “By the Setting of the Sun” is quite enjoyable as well, with a good dollop of Pink Floyd thrown in there. On the second disc, I was particularly drawn to “Willie O’Winsbury”, another delightful mix of traditional and later revival sounds (sitar!). Another good recording is “Within Sound”, always a fascinating few verses. Ending the album with a superb version of Gwydion Pendderwen‘s “Spring Strathspey” is a good move as well.

Though I’m not too fond of all the vocalists in The Owl Service – that’s a matter of personal slant – and although the band’s music could bear a bit more experimental influences, they are easily one of the most interesting projects in modern British folk music. This double album summarises well what they’re capable of, and really the only reason not to check it out is if you already have the separate releases that constitute it.

Zur Ew'gen Ruh

Sturmpercht / Rauhnacht - Zur Ew’gen Ruh [discogs]

This EP was released late 2011 on Percht Records, a member of the Steinklang family. These two austrian folk (inspired) artists teamed up for a two track work combining neofolk and black metal, with that typical atmosphere of dark nature mysticism that has been so inspiring since the early nineties.

The first track has the usual acoustic neofolk basis, but with a lot of additional instruments, such as bells, jew’s harp, flute, accordion, and wind sounds. The vocals alternate between whispers and harmonic chants, quite in the line of German bands like Orplid and Empyrium. The mysterious atmosphere is maintained into the second song, where the acoustic elements blend with the metal. This mix of elements works quite well, and is similar to the style of bands like Windir or Negură Bunget, to name just two.

Both songs feel like integral parts of a whole, and this short EP is a very good and cleanly produced stylistic exercise, if not really groundbreaking. Certainly recommended for those who don’t mind mixing their metal and folk somewhat!

Review: Troy Schafer – Evening Song Awaken (2012)

admin — Fri, 30 Mar 2012 11:58:24 +0000

artist: Troy Schafer
release: Evening Song Awaken
format: CD-R
year of release: 2012
label: Recital
duration: 41:00

detailed info: discogs.com

Troy Schafer, involved in projects like Rain Drinkers and Wreathes has some solo works as well, and Evening Song Awaken is to my knowledge his first full album release. As a classically trained violinist, Schafer gives centre stage to this instrument here, layering melodies and string drones, with a fascinating spectrum of compositional influences. Do read on, because this is one of my favourite releases of the year thus far.

The first grouping of tracks, “The Desire Towards Joy”, is a romantic and melancholic classical composition, where the rhythm flows around the main melodic swoops. Here and there, we hear soft percussion thuds, and both low and high notes providing drones in the background at the end of the first cycle. The second cycle continues the romantic, flowing theme, and includes tiny hints of what might be soft vocals in the background. The “arpeggios” are a fine coda to this first trilogy of tracks, starting with thickly layered sustained bowing, and ending in the broken chords that give the piece its name.

“The Spring of Instinct” is a very short duo of atonal pieces, functioning perhaps as a bit of a quirky palate cleanser before the extended tracks that are to follow. “Let the Corpse of the Mind Lie Unburied…” is the longest composition on the album, and it is highly influenced by drone and minimal music. A few sustained note sequences form the basis for most of the track, which is embellished by small modifications and melodies. After four minutes or so, silence sets in briefly, giving way to trumpet (an instrument that Schafer uses sparingly and successfully in many of his projects) and experimental vocals, and soon joined by violin again. From here, a denser drone is again built up, with a relatively free tonal range, building towards an intense climax. The final track, “Faint Fresh Fire”, features a few more other instruments, such as an organ and synth intro, bells, and more (I think) vocal work mimicking high-pitched animal voices. A brilliant piece that does quite a bit to tie in the purer violin works that came before with the more band- and ensemble-oriented music Schafer produces in his other projects.

In short, Evening Song Awaken is the work of a confident and very accomplished violinist and composer, and one that is unafraid to push boundaries with his music. I have the utmost respect for Schafer’s work, and this album, limited to 200 CD-R copies, should not be missing from your collecting if you value modern classical (violin) music, as well as innovative acoustic music in general.

Reviewed by O.S.

Tracklist:

1. The Desire Towards Joy – Cycle I (6:09)
2. The Desire Towards Joy – Cycle II (4:39)
3. The Desire Towards Joy – Arpeggios (4:03)
4. The Spring Of Instinct – Cycle I (0:46)
5. The Spring Of Instinct – Cycle II (0:25)
6. Let The Corpse Of The Mind Lie Unburied On The Edge Of The Great Sea! (16:41)
7. Faint Fresh Fire (8:19)

Cloudscape: Troy Schafer – Spring Hyacinth Mix

admin — Tue, 27 Mar 2012 16:30:34 +0000

Troy Schafer (Rain Drinkers, Wreathes, Kinit Her) has generously shared one of his new mixes with us, featuring a short selection of inspiring music from various surprising directions.

More about Troy’s own music here: < http://soundcloud.com/troy-schafer > and here: < http://troyallenschafer.bandcamp.com/ >.

Artwork by Mœbius < http://en.wikipedia.org/wiki/Jean_Giraud >.

Troy Schafer – Spring Hyacinth Mix by Evening Of Light on Mixcloud

Tracklist:

Phase II – Candle In the Night – Band Talk
Nina Simone – Black Is the Color of My True Love’s Hair
Charlemagne Palestine – Strumming Music
Ennio Morricone – Ecstasy of Gold
Yma Sumac – Chuncho
Henry Flynt – Central Park Vocal #2
Pat Metheny Group – Letter From Home
Henry Flynt – Central Park Vocal #1
Shirley & Dolly Collins – Death & The Lady
Krzysztof Penderecki - Polymorphia
The Books – Of The Word God
Alice Coltrane – Universal Consciousness
Catherine Ribeiro + Alpes – Jusqu’a ce que la Force de t’aimer me manque
Phase II - Candle In the Night – Band Talk
Jermain Tamraz – Dogle Shapire Live
Baligh Hamdi – Zamane

Review: Raising Holy Sparks – Beyond the Unnamed Bay (2011)

admin — Mon, 19 Mar 2012 11:57:51 +0000

artist: Raising Holy Sparks
release: Beyond the Unnamed Bay
format: MC
year of release: 2011
label: Fort Evil Fruit
duration: 50:48

detailed info: discogs.com

2011 marked the end of David Colohan‘s artistic period as Agitated Radio Pilot, a name that will be familiar to our frequent readers. Initial dismay at the end of this great project will be rapidly assuaged by this: Raising Holy Sparks, a new band with Declan Kelly and Vicky Langan as additional core members on this album, as well as a number of guest appearances. I was so excited about David continuing to record that I agreed to draw the band logo for him after a design of his, even before hearing the album.

Now that I have heard it, I’ll describe it briefly as Agitated Radio Pilot with electronics, and that’s more than it sounds like. ARP throughout the years already displayed an impressive range of styles, encompassing singer/songwriter, lo-fi songs and ambient, as well as elaborate improvised organic drones and interludes. Beyond the Unnamed Bay is also such a blend, with “Here Begins Our Lasting Joy” and “As Far As We Can Go” being the most salient lyrical songs. The first is a stunningly beautiful acoustic track, one of the best Colohan has ever written, with Richard Moult on backing vocals instead of his usual piano contributions. The second again features Moult as backup vocalist, but this time over old school programmed drums, synth bass, and organ drone. Another lovely, almost poppy track, which highlights the new directions of this project.

“The Depths of Bailey Point” is a mammoth track, incorporating extended soundscape improvisation, lyrical elements from the other songs on the album, and some noisy elements. Other tracks are shorter instrumental compositions that really highlight the lovely analog synth sounds Colohan has been playing around with. “Diamonds in the Water Where You Swam” and “The Road from Knocknacarra” are the standout tracks here. “Along the Sea’s Drumming” is a slightly longer soundscape with many different synth sounds, all maintaining that slightly lo-fi, organic feel. And let’s not forget the “Hallelujah” intro and outro, lovely grainy pieces where Langan carries the vocals, backed by rainfall and piano.

If I seem biased toward this first Raising Holy Sparks album, it is not because I contributed the logo, but because I’ve been such an admirer of Colohan’s work for a number of years. As such, seeing this new project launch so successfully is a great joy, even though on a modest tape run of 100 on Ireland’s new Fort Evil Fruit label – there truly is a tape revival going on. The music is in keeping with the spirit and the composition quality of Colohan’s earlier music, and though it is a project that stands by itself, at the same time it feels like a natural continuation of Agitated Radio Pilot. An essential buy for anyone who enjoyed that project, and an excellent place to start if you want to discover Colohan’s talent.

Reviewed by O.S.

Tracklist:

A1 Hallelujah (1:58)
A2 Here Begins Our Lasting Joy (3:42)
A3 The Depths Of Bailey Point (19:34)

B1 Beyond Blake’s Hill (1:07)
B2 Diamonds In The Water Where You Swam (3:09)
B3 As Far As We Can Go (3:57)
B4 The Road From Knocknacarra (4:15)
B5 Along The Sea’s Drumming (7:52)
B6 There Can Be No Loneliness In Our Singing (3:58)
B7 Hallelujah (1:17)

Review: Rain Drinkers – Yesodic Helices (2012)

admin — Thu, 15 Mar 2012 12:39:35 +0000

artist: Rain Drinkers
release: Yesodic Helices
format: LP
year of release: 2012
label: Brave Mysteries
duration: 30:17

One of my favourite discoveries from last year, and they’re back already with their first LP release: Wisconsin’s duo Rain Drinkers. Zavier Krall (pseudonym of Troy Schafer) and Joe Taylor have put out several albums since 2010, ranging from good to breathtaking, and as I had expected and hoped, this latest one is a worthy addition to the discography.

Yesodic Helices starts with an atmosphere comparable to that of last year’s wonderful Springtide: a fine layering of drones and violin, both covering bass and high frequencies. With a few broad strokes, these men paint a vast musical canvas from which to start, suffused with mental images and tiny details of sound. After about five minutes, lovely melodies on trumpet and guitar, as well as soft chants, take over to introduce a new tonality. It’s uplifting on the one hand, but with notes of mystery and present danger as well. Rolling piano and drones continue the track from here, slowly building towards a subtle crescendo.

The second movement starts with some new low drones, faint piano, and electric guitar. A theme with soft percussion, organ, and flute develops out of this, still maintaining a rather calm vibe. Shortly after the halfway point, flute and guitar give way to a pulsating rhythm growing in intensity, and more and more instruments and sounds (percussion, deep bells) join in for the album’s final climax. This section shares some elements with the title track on Burial Hex‘s Book of Delusions from last year, which is a compliment.

Though short for an album, Yesodic Helixes feels more like a single 30-minute track, perfectly balanced and paced, and definitely on the level of the project’s best releases so far. Reviewers are at a loss when they have to pigeonhole Rain Drinkers’ music, and terms like “urfolk” get thrown around at times. This is a sure sign that some new things are happening here, and indeed you can hear influences from all over the place: folk, jazz, film music, ambient, drone, ritual, etc. Combined with an obscure spiritual imagery – what are these helices and what do they have to do with one of the sephirot? – and band image (mysterious names, unknown recording locations), and you have a great package. It must be clear I love these guys, and I can’t do anything but recommend this and their other works to all our dear readers.

Reviewed by O.S.

Tracklist:

1. Helix I (15:23)

2. Helix II (14:54)

Review: March of Heroes – La Chute (2011)

admin — Mon, 12 Mar 2012 16:00:38 +0000

artist: March of Heroes
release: La Chute
format: CD
year of release: 2011
label: Steinklang
duration: 71:49

detailed info: discogs.com

I always approach martial industrial records with a sense of trepidation, as there are a lot of so-so, uninspired albums out there, in a genre that is rather claustrophobic, if we’re totally honest. Too many copycats, rehashing of themes, and so forth. In that context, La Chute didn’t look all that promising with its sepia war pictures and French titles indicating all sorts of wartime thematics. Listening to the music, a number of potential little irritants are there as well: the obligatory use of samples of crackly classical music and gunfire, speeches, etc.

However, after a few listens, there is something about the general composition of this album that just works quite well. March of Heroes (the project of Romain Lemenorel, and with guest appearances by Jim Breedveld and Mitchell Keepin) infuses the tried and true martial motifs into an album that feels most like a score to a film or even a video game. Mostly shying away from the standard marching tracks and devoid of any lyrics as such, the tracks on La Chute are very layered, and mostly blend into each other, forming a long soundscape.

While there are several tracks where powerful rhythm plays a major role – “Un Appel aux Armes” incorporates the same bombastic classical sample as Karjalan Sissit‘s “Kunnia Isänmaa”, for example – a lot of it is calmer, and the mood is mostly sad, oppressive, and sorrowful, rather than aggressive or glorifying. Melody comes predominantly from soft synth layering, while additional melody and texture is provided by the aforementioned samples, environmental sounds, and here and there some lighter percussion.

Perhaps the reminiscence of soundtrack or score comes from some of the samples used. At least one I recognise outright: the lovely dream sequence theme by Michael Hoenig (the Tangerine Dream one), written for the classic game Baldur’s Gate, originally released in 1998, and worked to great effect into the track “Parmi la Poussière et les Ruines”. There are probably more of such (uncredited) elements.

So, while we can nitpick about the lack of thematic or stylistic originality, and the amount of borrowing work taking place here, La Chute is still a very convincing album, dripping with an ominous atmosphere, somewhere between martial industrial and dark ambient. Even over a length of 70+ minutes, it has a sense of urgency and a flawless timing and flow. In other words, an extremely solid album that should be interesting to martial aficionados of course, as well as some skeptics like myself who find themselves drawn in despite initial misgivings.

Reviewed by O.S.

Tracklist:

1. Introduction (6:50)
2. Leur Terre, Leur Sang (6:35)
3. La Guerre De L’Inconnu (4:00)
4. Un Appel Aux Armes (5:20)
5. Une Marche Pour La Gloire (3:00)
6. Collaborations (4:40)
7. Du Sang Sur Mes Mains (7:10)
8. Les Derniers Jours (4:00)
9. Pour Une Cause Perdue (5:10)
10. Parmi La Poussière Et Les Ruines (4:15)
11. L’Europe Après La Guerre (3:40)
12. La Chute (7:50)
13. La Liberation (4:20)
14. En La Memoire Des Disparus (4:59)

Eclipse Review: Nature and Organisation – Death in a Snow Leopard Winter (1998)

admin — Sat, 10 Mar 2012 09:04:01 +0000

artist: Nature and Organisation
release: Death in a Snow Leopard Winter
format: CD
year of release: 1998
label: Snow Leopard / World Serpent
duration: 41:19

detailed info: discogs.com

If Death in a Snow Leopard Winter has been given a bit of a stepmotherly treatment in the annals of music history, it is undoubtedly because it will forever stand in the shadow of its predecessor. Beauty Reaps the Blood of Solitude was perhaps the quintessential neofolk album of the 1990s, with a star cast of David Tibet, Douglas Pearce, and Rose McDowall, alongside many other excellent guest musicians. and of course Michael Cashmore as main composer. Several of that album’s songs (“Bloodstreamruns”, “My Black Diary”, “Bonewhiteglory”) feature among the highlights of the genre, and its instrumental passages and industrial elements did nothing to hurt the album’s appeal either.

This album is quite different. As Cashmore himself indicated in the liner notes, it is unfinished, and he had planned to add woodwinds, percussion, and vocals, but was forced to abandon these compositions at an early stage. In their current form, the twelve movements are for piano (by Cashmore himself) and string quartet (Elizabeth Toney, Jeremy Jackson, Hannah Walker, and Dan Bradley). Judging by the description, the final work would have been a grand (chamber) orchestral piece, and with this in mind it’s understandable that Cashmore presents the album as a “rough mix”, unworthy of anything more than a mid-price CD.

But perhaps he is selling himself short. In retrospect, and treating it as a finished album instead, Death in a Snow Leopard Winter is a beautiful composition, and it is the minimal instrumental setup that lends it part of its charm. It is here, to my knowledge, that Cashmore for the first time presents his romantic classical compositions in this form, alternating delicate and very minimal melodic piano passages with emotional swells and full sweeps of strings. Not only does it work perfectly for these compositions – though I’m sure the full orchestral version would have been great, as well – it also foreshadows the sparse style of Cashmore’s later work such as Sleep England and The Snow Abides. In that sense alone this is a valuable album.

But, context aside, this album is simply very beautiful, and favourite piece of my collection for special moments. It works equally well on cozy dark evenings at home, as on solitary treks through the woods, regardless of season, though winter is perhaps the obvious time. It lends itself well to calm contemplation and a bit of nostalgia or weltschmerz, and perhaps the romantically inspired but also modern compositions are perfectly suited for such a mood.

There are few composers who venture into this style of music nowadays, but those that do are valuable, taking the step from more folky song based music to compositions that are more expansive and loose, while keeping a sort of organic and romantic feeling. Richard Moult, though with a style wholly of his own, is one of the few others who does this with great success. As such, many of the compositions coming from these people are works to treasure. Death in a Snow Leopard Winter, though unfinished as such, is definitely one of those.

Reviewed by O.S.

Tracklist:

1. (3:27)
2. (1:01)
3. (3:50)
4. (4:41)
5. (3:30)
6. (4:47)
7. (4:34)
8. (3:42)
9. (1:24)
10. (3:53)
11. (4:05)
12. (2:25)

Cloudscape #24: March 2012

admin — Wed, 07 Mar 2012 19:55:11 +0000

Cloudscape #24: March 2012 by Evening Of Light on Mixcloud

Artwork: Land of Endless Hankering (2004) by Józef Stolorz

Review: V.A. – John Barleycorn Reborn: Rebirth (2011)

admin — Sat, 03 Mar 2012 12:09:28 +0000

artist: Various
release: John Barleycorn Reborn: Rebirth
format: 2xCD
year of release: 2011
label: Cold Spring
duration: 2:32:05

detailed info: discogs.com

Perhaps it was to be expected that after the original John Barleycorn Reborn 2CD set and last year’s ‘sequel’ We Bring You a King with a Head of Gold, the MP3-only supplement to the former compilation would be put on CD as well. Originally, it was a bonus release from Woven Wheat Whispers, and as you can read in my review, it contained quite a few nice additional tracks to what was featured on the CD. Now that this material is out on CD as well, thanks to Cold Spring, it’s time to go over them again.

CD 1 starts with some traditional folk numbers, where The Story‘s track stands out a bit because of its strong instrumentation and psych folk revival style, while we get supreme relaxation from David A Jaycock and Yealand Redmayne. A bit of mediaeval material comes from Steve Tyler and The Wendigo, though the best of this genre is found on the second disc. I failed to really notice the track last time around, but the Tigon Mix of The Owl Service‘s “Wake the Vaulted Echo” is rather excellent as well: mysterious and a tad offbeat with its folky electronica style. I’ve mentioned (and played) the superb coda to Far Black Furlong‘s The East Room plenty of times, so once more can’t hurt. Other tracks of note on the first CD included the dark ghost story by The Straw Bear Band, and the lovely freefolk of The Big Eyes Family Players.

The second disc contains quite a few nice works as well. There’s psychedelic and dreamy pieces from artists like Cunnan, Orchis, and Twelve Thousand Days, as well as a soaring a capella by Clive Powell. More mediaeval goodness comes from Daughters of Elvin, and particularly from Misericordia with their brilliant hammered dulcimer-based “De Ponir Amor a Me”. Sedayne and Rachel McCarron join together as Venereum Arvum again with a wonderful version of Child Ballad 102, a lovely vocal harmony and a great melody, too.

Altogether, this bonus set to the original compilation is very much worth picking up if you didn’t get the digital version at the time, now unavailable, or if you prefer to have it on CD, which is reason enough by itself. Together with We Bring You a King with a Head of Gold, these two instalments of John Barleycorn Reborn make a fascinating set of 6 CDs featuring some of the best artists from British alternative folk today, which is an essential part of any folk lover’s collection. At the same time, after these sets, I feel it’s been enough, and it would be interesting to see a collection of all the lovely folk that’s been made in the rest of the world in the past decade. There are loads of gems out there waiting to be discovered by a wider audience.

Reviewed by O.S.

Tracklist:

1-01 Magpiety – The Rolling Of The Stones
1-02 The Story – All Hallow’s Eve
1-03 Telling The Bees – Wood
1-04 David A Jaycock – Bonny Jaycock Turner
1-05 Yealand Redmayne – Oh My Boy, My Bonny Boy
1-06 Charlotte Greig & Johan Asherton – The Bold Fisherman
1-07 Steve Tyler – Tierceron
1-08 The Wendigo – The Wendigo
1-09 The Owl Service – Wake The Vaulted Echo (Tigon Mix)
1-10 Far Black Furlong – The East Room V
1-11 Xenis Emputae Travelling Band – Brightening Dew
1-12 Sedayne – Corvus Monedula
1-13 The Straw Bear Band – Bear Ghost
1-14 Novemthree – Scythe To The Grass
1-15 Paul Newman – Lavondyss
1-16 James Reid – Kingfisher Blue
1-17 JefvTaon – (Digging The) Midnight Silver
1-18 Wooden Spoon – Children’s Soul
1-19 The Big Eyes Family Players – A Dream Of Fires

2-01 Sundog – Improvisation At Kilpeck, June 2007
2-02 Clive Powell – Ca The Horse, Me Marra
2-03 Mac Henderson And Grand Union Morris – Jack In The Green
2-04 Cunnan – Seven Sleepers, Seven Sorrows
2-05 Orchis – The Silkie
2-06 Twelve Thousand Days – Thistles
2-07 Novemthree – Harvest Dance
2-08 James Reid – Elder
2-09 Mary Jane – When I Was In My Prime
2-10 Daughters Of Elvin – Ognor Mi Trovo
2-11 Misericordia – De Poni Amor A Me
2-12 Venereum Arvum – Child 102 (Lily Flower Mix)
2-13 The Anvil – John Barleycorn Must Live
2-14 Sunshine Coding – The Old Way

Review: Premonition Factory – Live at Kink FM X-Rated (2012)

admin — Tue, 28 Feb 2012 15:34:33 +0000

artist: Premonition Factory
release: Live at Kink FM X-Rated
format: CD
year of release: 2012
label: Longstreet
duration: 62:39

detailed info: discogs.com

The Sense of Time was one of our favourite records of last year, and it proved that Sjaak Overgaauw has a brilliant touch in balancing recordings for a studio album. This new one proves there is a similar balance in his live works. Actually, it is not that surprising since he uses the save live synth improvisation technique for both purposes, with the only difference that always you have to do things right immediately when playing live.

On September 4th of 2011, Premonition Factory was to be the last live guest performance in the X-Rated show on Kink FM, the radio station that ceased broadcasting on October first – more on that story here. In a set of around forty minutes, Sjaak incorporated many of the elements that made his album works so successful thus far.

The first part introduces a calm, serene theme based on synth waves and delicate melodic piano touches, ending relatively silently, fading into the second track with a soft fuzzy drone. Quickly, the dominating rhythmic pulsations of that second piece fade in, which forms the basis of an uplifting piece. The third part is shorter again, and extremely soft, calm, and lower in volume. Gradually, as the set moves into its final part, darker drones and clouds of sound enter into the mix, though maintaining the calm atmosphere.

As a bonus, two shorter live performances (or outtakes) are included on the CD. The first one, “28 seconds”, was recorded in Cologne. It is a relatively dark piece, with some ominous background tones, and gentle piano touches providing the main melody. A quite engaging piece, featuring subtle rhythmic glitches and a great development. The final track, “Live in Brussels”, ends the album on a mysterious note, with darker and more ambiguous tones.

This album reconfirmed my conclusions after seeing Premonition Factory perform live in Amsterdam recently: Overgaauw masterfully translates this style from studio work to a live setting, by virtue of using practically the same methods. So, keep this is mind: seeing him live and this album are both experiences to cherish.

Reviewed by O.S.

Tracklist:

1. X-Rated Pt. 1 (13:38)
2. X-Rated Pt. 2 (11:03)
3. X-Rated Pt. 3 (6:05)
4. X-Rated Pt. 4 (8:46)

5. 28 Seconds (12:08)
6. Live In Brussels (10:56)

Review: Songs of Green Pheasant – Soft Wounds (2012)

admin — Sat, 18 Feb 2012 19:11:53 +0000

artist: Songs of Green Pheasant
release: Soft Wounds
format: CD
year of release: 2012
label: Rusted Rail
duration: 38:08

detailed info: discogs.com

From the category ‘albums that need a few spins to click’ comes the latest release on Rusted Rail; it is Sheffield’s Duncan Sumpner and his fourth album as Songs of Green Pheasant. At first listen it seemed a relatively average bit of indie rock / folk crossover material, but over time the subtleties and quality of these compositions reveal themselves.

The style description above is more or less valid, though. In a number of tracks, acoustic guitar and Sumpner’s wispy voice are combined with a steady backing of bass, drums, and piano, lending a light rock touch to the songs. Other tracks are stripped down, relying on an interplay of guitar and accents on trumpet and piano.

This includes two of my favourite tracks, which are even instrumental: “For People” and “Sad Flowers (Viva Happiness)”. Both are wonderfully understated melancholic works. Speaking of which, there’s a beautiful sadness in “Mirror” as well, and the long “Flesheaters” has its own share of lovely moments.

Soft Wounds is only the latest in a row of releases that cement Rusted Rail’s reputation as one of the finest alternative folk labels in Europe at the moment. For me, this is another warmly gentle record to cherish, a gem that comes recommended to all lovers of indie folk, singer/songwriter, and the like.

Reviewed by O.S.

Tracklist:

1. Teenwolf (5:14)
2. Self Portrait With A Dog (2:53)
3. Deaf Sarah (4:21)
4. For People (2:19)
5. Mirror (4:09)
6. Flesheaters (9:37)
7. Sad Flowers (Viva Happiness) (5:34)
8. Lemon Yellow (4:01)

Review: V.A. – DRONE-MIND//MIND-DRONE vol. 1 (2011)

admin — Tue, 14 Feb 2012 15:00:37 +0000

artist: Ubeboet / Halo Manash / Jarl / b°tong
release: DRONE-MIND//MIND-DRONE vol. 1
format: LP
year of release: 2011
label: Drone
duration: 52:47

detailed info: discogs.com

After an impressive 100 seven-inch releases, the Drone series by Drone Records recently came to an end. And while the ten-inches of Substantia Innominata are still running, the label decided to start a new range of records as well. The first emanation is this, volume one in the DRONE-MIND//MIND-DRONE series, LPs split between a selection of different artists, but still focusing on dark ambient and drone music.

Spanish project Ubeboet (a Danish word meaning ‘uninhabited’) kicks off side A with two wonderful tracks. Both are are deep forays in dark ambient territory with mysterious chanted vocals and other samples, and wonderful use of violin in the background in the second track. A possible reference here would be raison d’être, although Ubeboet displays a slightly more subtle style here. Excellent work!

A familiar name for we was the Finnish project Halo Manash, who’ve done excellent work in ritual ambient in the past decade or so. The two tracks here are sparser than some of their material, eschewing heavier percussion in favor of drones based on deep gongs and horns. Both are excellent pieces with an emphasis on sustained tones and room for air.

The B-side opens with one long track by Jarl, and one that has quite a dark and thrilling atmosphere. A two-tone loop and some of its harmonics form the basis of the whole track, over which are laid all sorts of drones, plucked piano strings, and tiny effects and samples.

b°tong closes this four-way split album with four shorter tracks. The first is based on a distorted and manipulated voice sample, while the second his a more acqueous drone sound, with bubbles and currents. The third is the longest, some six minutes, and it is built on looping soft sounds, again with a bit of a watery and echo-y feel to it. The final track, “Pam”, is more in the direction of traditional ‘dungeon’ dark ambient: oppressive echoes, metallic clangs, and dripping moisture.

The LP is a fascinating showcase for four different drone and ambient artists, and that is perhaps the essence of everything ever done by Drone Records. Although I have a personal preference for the A-side here, there is much to love, and subtle variation in the presentation of these four artists. A glorious debut on coloured vinyl for this new series, and a highly recommended release for all droners out there. Here’s to the future!

Reviewed by O.S.

Tracklist:

1. Ubeboet – Akasa
2. Ubeboet – Agone Revisited
3. Halo Manash – Hänesä Henget Eläwät
4. Halo Manash – Luiden Lukija

5. Jarl – Zero In Scream
6. b°tong – Vam
7. b°tong – Lam
8. b°tong – Ram
9. b°tong – Pam

Cloudscape #23: February 2012

admin — Thu, 02 Feb 2012 22:07:42 +0000

Cloudscape #23: February 2012 by Evening Of Light on Mixcloud

January 2012 Short Reviews

admin — Tue, 31 Jan 2012 15:55:54 +0000

Akhet

Akhet – Akhet [discogs]

There are rare impromptu recording sessions where everything just comes together. Akhet is a result of one of those, an incedental collaboration by Paul van den Berg, Marc Verhaeghen, and Dirk Serries. The four long tracks on this LP released by Tonefloat clock to almost an hour, filled with quirky electronics, soft drones, and frantic guitar work. Throughout these improvised tracks, there is a mysterious and at times psychedelic atmosphere vaguely connected to the Egyptian of the name of this project.

As has been noticed my man listeners and reviewers, there’s a distinct 1970s krautrock feel to this album, but at the same time, you can detect the evolution of electronic music in the way the synths are applied. As a result, Akhet doesn’t sound quite like any particular thing, including the other works of the individual artists involved. All tracks on the album are interesting and fascinating, but I have to mention the last one in particular, which has superb frenzied electronic looping going on, an energetic and intense climax to an excellent album.

Dead Sons

His Electro Blue Voice – Dead Sons EP [discogs]

The Brave Mysteries label pushes its boundaries again with this 12″ EP by Italian band His Electro Blue Voice. Dead Sons contains lots of speedy rock, a punk attitude, nicely layered effects, all giving a full sound to the screamy vocals and shredding guitars. Powerful driving bass and drums round out the heavier parts nicely. At the same time, there are experimental parts, like the psychedelic flute-based ending of the first track, that add additional goodness to this record.

All of this just barely lasts twenty minutes, but that’s good at times, and an EP like this doesn’t outstay its welcome. A nice surprise this one, and a band to keep an eye on in the future if you’re into ballsy, experimental rock.

The Day of the Lord

Ur - The Day of the Lord – 060606 Session [discogs]

This 2010 release on Abgurd records consists of four tracks deep in the realm of dark ambient and noise. The long first track is based on low, deep rumblings, obscured voices, and other tiny variations. The second track slowly and convincingly builds up to climax in a churning mass of noise, drones, and distorted screams. The final two tracks are a bit calmer once more, with the final track being the most interesting, where a bass guitar line and screeching violin add a touch of occult rock to the album.

All in all, not a particularly special album, but it is reasonably varied in its mix of various industrial influences, and the atmosphere is nice and obscure.

Review: Syven – Aikantaite (2011)

admin — Tue, 31 Jan 2012 15:45:31 +0000

artist: Syven
release: Aikantaite
format: CD
year of release: 2011
label: Vendlus
duration: 64:55

detailed info: discogs.com

A new project from Finland is the duo Syven, consisting of A. Tolonen whom we remember as the main artist behind Nest, and Andi Koski-Semmens, a vocalist previously in Pantheist and Ereipia. Together they’ve put together a debut album of five tracks in which they combine shamanic folk/ambient with light metal influences, and it follows in the line of their track “How Fare the Gods?” which featured on the compilation Whom the Moon a Nightsong Sings.

The main ingredients of Syven are comparable to Nest, in the sense that synths, the Finnish kantele, and skin drum percussion form the musical basis. Andy’s classical bass voice and the distorted guitar-like kantele sounds are new, though the album does feel like a continuation of or elaboration upon the music of Nest.

The first track, “Syvvys”, feels like a more ambient and ritual intro to the rest of the album, in which the second and third long tracks form the central part. These lengthy compositions have a level, flowing rhythm where all aspects of the music get a chance to shine, although at times the music fades a bit into the background as well, on account of the constant cadence. There are subtle changes in intensity in these tracks, and in the dense parts menacingly growling vocals can be heard in the background. ”Jäänkätkemä” is a calm ambient piece with just kantele and voice, a brief bit of respite after the heavier foregoing tracks. “Tuulenvire”, finally, is the coda to the album, where a stronger layering of sounds is again built up, as well as a threatening atmosphere and some samples of fauna and weather.

Aikantaite is an essential listen for those who are familiar with the music of Nest, but there is plenty to discover for newcomers as well. It’s quite hard to pigeonhole the music, because the atmosphere is somewhere in between. It has a strong tie on the one hand to a nordic shamanistic sound, but not quite in the way that some other bands do. The sound is a touch softer and more polished in a certain sense, perhaps also because of Andy’s velvety voice. Regardless, this own sound sets Syven apart from other projects, and you’ll have to find out for yourself if that’s a good thing. I certainly dig it, and Aikantaite is an excellent and original debut album.

Reviewed by O.S.

Tracklist:

1. Syvyys (6:55)
2. Jäljet (19:22)
3. Ne, Jotka Selviävät Talvestamme (18:46)
4. Jäänkätkemä (7:45)
5. Tuulenvire (12:07)

Cloudscape #22: January 2012

admin — Wed, 11 Jan 2012 11:50:30 +0000

Cloudscape #22: January 2012 by Evening Of Light on Mixcloud

Review: Peter Bjärgö – The Architecture of Melancholy (2011)

admin — Tue, 10 Jan 2012 19:12:27 +0000

artist: Peter Bjärgö
release: The Architecture of Melancholy
format: CD
year of release: 2011
label: Cyclic Law
duration: 40:19

detailed info: discogs.com

Peter Bjärgö is best known as the man behind illustrious projects such as Arcana and Sophia, but this brand new solo album of his is certainly not something to dismiss as a side project. Over the course of this seven track album, which stays close to a traditional LP length, Bjärgö explores a song style that is somewhere between ambient and darkwave, with a strong role for electric guitar melodies with subtle effects to give them a bit of an exotic touch.

The opening title track is perhaps closest to the signature gothic ethereal style of Arcana, with backing vocals provided by Ida Bengtsson. The rich, warm production bears that distinctly Swedish colour that we also find in lots of Cold Meat Industry and Cyclic Law releases. Percussion and heavy layerings are abandoned in the lovely second track, “Bitteresque”, which consists of just a minimal melody and brooding whispered vocals. We find similar calm and melancholic moods in the third and fifth tracks, while “Apathy” and “The Death of Our Sun” are full-blown songs again, with strong percussion, channeling that unique 1980s/1990s goth sound of inspirations like Dead Can Dance and Black Tape for a Blue Girl. While Arcana sometimes ventured a bit too close to such inspirations for my personal comfort, I find that this album avoids that pitfall for the most part. The long final track, then, is indeed a loop, a soft melody gently disintegrating, lulling the listener to the end of the album.

Not your usual Cyclic Law fare, this one, but a pleasant surprise for me. Nowadays it seems the goth scene is mostly about 4/4 industrial techno and fantasy folk, but The Architecture of Melancholy is the kind of music you could still hear often around the year 2000 in the clubs: dark, melancholic, subtle, and dreamy.

Reviewed by O.S.

Tracklist:

1. The Architecture Of Melancholy (6:47)
2. Bitteresque (4:44)
3. The Hidden Compass (3:59)
4. Apathy (5:08)
5. A Wheel Of Thoughts (4:05)
6. The Death Of Our Sun (5:24)
7. Sleep Dep.Loop1 (10:12)