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71
Forum Member Projects News and Promotion / WANNAMARCHI.CLUB
« Last post by wannamarchi.club on July 11, 2017, 10:23:34 AM »


SUMMER EXPO
A NEW SPANKING HOT MIXTAPE FROM WANNAMARCHI.CLUB

All tracks featured are available to purchase at wannamarchi.club in physical and/or digital formats.

The mix can be downloaded for free at wannamarchi.club - a limited amount of cassettes have been produced and will be sent out for free with orders of more than one title, or can be purchased alone for £1.99.

If purchasing multiple titles get in touch for a discounted price.
Wholesale prices are available for mail orders / distros.

--
[Calling Wanna]
Partial Objects - Guy Andre (BBC2)
Nokuit - Shapeless Self (NKT003)
JEO - Prince of Space (TCCCSJEO1)
Nokuit - Suspended (NKT002)
Tottenham Ayatollah - Never Be Safe (BBC1)
Nokuit - Structures (NKT003)
JEO - The Emanation of The Giant Albion, Side A (BBC3)
Nokuit - Restless Legs (NKT003X)
The Soulless Party - Tales from the Black Meadow (Main Theme) (TCC7TMTP1)
Partial Objects - Physical Education (BBC2)
Nokuit - Deep Breathing (NKT003X)
Tottenham Ayatollah - Jihaddi John's Drug Binge (BBC1)
Imperial Leather - Death to Traitors Freedom for Britain (BBCU)
Nokuit - Screwed Angels - Moments of Ecstasy (NKT003X)
Imperial Leather - So Long [Project Fear is Over] (BBCU)
[Try Again]
--


72
Grey Frequency recorded live at Ambient Électronique, The Chameleon Arts Cafe, Nottingham (8 July 2017).
The accompanying visuals were projected during the set.


73
Independent Music Reviews / My review of "Travels" CD by Crows Labyrinth
« Last post by richardgurtler on July 09, 2017, 09:22:31 AM »


Crows Labyrinth "Travels" CD

Dutch bass guitar dronescaper Theo Tol aka Crows Labyrinth has self-released his debut CD "Travels" already several years ago, back in January 2013, but I think his intriguingly engrossing sonic alchemy, when utilizing only bass guitar and various effects, definitely deserves to be experienced and praised. Simple, but elegantly immersing 4-panel digipak features cover art and design executed by the artist himself. Additional credit goes to Arian Prins, who did the mastering at Hydra Music Studio.

The opening "Frontier", which covers 10 and a half minutes, straightly dives into nebulously rumbling terrains, more disturbing than harmonious, yet stunningly transporting into subterraneanly perplexing sceneries. Subtly outbursting and eerily titillating metallic rawness is coupled with reverberating solitary meridians. Rather minimal, but strikingly encircling! "Influx", slightly shorter than it's predecessor, is relatively quieter, but still powerfully engulfing. Sculpted with hypogeally labyrinthine transcendental drones, which are bridged with mysteriously cascading blankets and deliberately reinforced by assorted intangible squeaks and mind-blowing vibrations. Massively tenebrous venture awaits here, undoubtedly a top-notch track!!! 6-minute "Gibberish" immediately transmute into weirdly spiraling realms, constantly permeated by various noisy scraps. So no wonder piece like this drives me almost nuts. This is also the only composition with few overdubs, otherwise the rest of the album is a pure improvisation. "Reverie", the longest cut on "Travels" getting over 11 minutes, is another rather hallucinogenic amalgamate, where disruptive stringed layers persistently commingle with ambiguously traversing echoes, while helixing humming drone infrequently arise as well. Delightfully dissonant sonic palette! "Stratagem" is for sure more, let's say polished with its accessible feel. Although still rambling through subterrestrially colored domains, the ride is augmented by variety of shimmering, skittering and dizzy traceries. A quite peculiar potpourri, exquisitely merging enigmatic undercurrents with lightly glimmering ornaments. "Below", which clocks to only 2-plus minutes, is the only solo bass performance, recorded separately apart from the rest of the album. Written more than 10 years ago, the piece focuses on sensitively luminous lyrical poignancy, while surrounded by distant velvety curtains of abandoned hissy quietudes, the only field recording used on "Travels". Disparately flavored, yet tenaciously following the trace. 7-minute "Heliograph" brings the album into its conclusion with calmly expansive and insistently embracing bass nuances masterfully coalesced with display of evocatively swirling and euphorically ear-tickling trimmings. A very strong one too!!!

Albeit rather more experimental, puzzling and piercing at times to my by far more conservative drifting taste, the album proficiently keeps its strong authentic focus and concept throughout 53 minutes, where the listener is constantly confronted with challenging enigma-inducing tapestries. And that's what really counts on "Travels" for me, well-done, Theo!!! After exploring Remco Helbers' "On Some Road" CD one year ago, here comes another distinguishing hidden gem Made in The Netherlands!!! Even if "Travels" CD remains the only physical edition by Crows Labyrinth, don't hesitate to give a listen also to few digital tracks available via Bandcamp. "Consolation" 3-track EP is the last one released about one year ago.

Richard Gürtler (Jul 08, 2017, Bratislava, Slovakia)
74
Other Ambient (and related) Music / Re: Steve Roach & Robert Rich
« Last post by SunDummy on July 07, 2017, 04:18:59 PM »
He and Roger King should make "Dust to Dust 2".  A top ten album for sure.
75
Other Ambient (and related) Music / Re: Steve Roach & Robert Rich
« Last post by Castleview on July 07, 2017, 02:57:05 PM »
I'm partial to a Roach, Braheny, and Stearns reunion. Desert Solitaire might be my favorite ambient album of all time.
76
Independent Music Reviews / My review of "Kreuzblut" CD by Mathias Grassow
« Last post by richardgurtler on July 07, 2017, 03:54:53 AM »


Mathias Grassow "Kreuzblut" CD

The connection between German Drone Kaiser and multifariously focused GS Productions label keeps on blooming. "Kreuzblut", the lastest album by Mathias Grassow for this in Moscow based imprint is another proof of this and it follows previous releases on GSP such as "Opus Posthumum" (reissue from 2014), "Harmonia Mundi" (2014), "AeroAreA" (4CD, 2015), "Interstellar Gravity" (2016) and "Tranceformation" (EP, 2016). Out since December 2016 in a limited edition of 100 copies and housed in a 4-panel digipak, the album is graced by stunningly gorgeous abstract cover painting by Mathias Grassow and his wife Cornelia Kern. Really nice job on this one, folks!!! Actually, I think the painting itself would be even more transporting without that white framing and heading. But anyway, let's enter the Drone Eden!!!

"Prologue" is rather shorter piece running just slightly over 4 minutes and it ignites the trip with expansively static droneforging persistently amalgamated with intangibly cavernous and oracularly encircling pulses and drops. Long-form 62-minute title track "Kreuzblut" straightly dives into spellbindingly unfathomable sceneries bridging monochromously mindscaping stratums with eerily percolating arctic-charged desolations and remote machinery breaths on one side, while warmer cinematic, choir-infused meridians are constantly arising and guarding above along with ephemeral mesmerizing ponderous beat. Powerfully immersing drone tour de force is fully unfolded here to stimulate the synapses of all addicted connoisseurs of tenebrously driven drone phenomenons. Beyond the gates domains are securely achieved, exactly in the manner as it is ordinary for this German Maestro. His unmistakable sonic insignias are all over this all-intensive transcendental opus!!! Assorted solitary industrial shrills and cybernetic signals clandestinely keep on permeating, while the monolithic multi-dimensional infinite layers effortlessly soar through graceful plateaus, awe-inspiring solitudes and breathtaking magnitudes. Staggeringly mind-blowing listening delight, bravo and thank you, Mathias!!! 7-minute "Epilogue" closes the odyssey with less intenser soundscape, yet similarly flatlined, although painting perpetual spirals centered around insistently glimmering traces. Ambiguously impalpable groans are hanging above as well.

"Kreuzblut", recorded back in January 2011, is intriguingly fascinating and nebulously engrossing album offering a truly splendid journey into thrillingly bottomless depths of inner realms, the zones with all its mysteries and terra incognitas, where the Drone Shaman is tenaciously dwelling with his majestically stalwart, massively abundant and profoundly mind-bending dronesculptings since the second half of the 80's. Thus "Kreuzblut" is another superb album by Mathias Grassow!!! Oh, before I forget, credit for remastering duties goes, as usual, to 121. And when focusing on the most recent physical releases, you also might want to explore two other CDs with dusted off archived works on Swedish gterma label, "The Darklight Quest" (July 2016, featuring mostly recordings from 1998) and "The Nightquest Sessions" (November 2016, originally composed in 1994 and 1998).

Richard Gürtler (Jul 06, 2017, Bratislava, Slovakia)
77
Music Gearheads Tech Talk / Re: Tech Talk with Jaja
« Last post by stargazer on July 05, 2017, 09:12:27 PM »
That is way too much space. Ideally you should be at the tip of a perfect triangle, where you are the same distance from either speaker as they are from each other. Right now you would have to be in your neighbors apartment for that to occur.  ;D  Honestly that layout would drive me crazy, where the keyboards and computer are right next to one speaker, and then miles away from the other. And the effects rack right under the mixer forcing you to straddle it or stand the entire time when using the mixer. But whatever works for you.
Loren: Thanks for your thoughts about studio monitors. We do have enough space for the sweet spot and no neighbours on the first floor. We have a studio for two and therefor with panoramic monitors. This was never a problem. And even more, it is a fantastic room sound. I am just a sound researcher :) I experience sound instead of producing. For me there is no such thing like: too much space. But the synthesizers are still in the arranging phase, and my reverb unit is on my table next to my audio interface and computer. So it's not quite as bad as it seems :D
78
Music Gearheads Tech Talk / Re: Tech Talk with Jaja
« Last post by LNerell on July 03, 2017, 12:20:13 PM »
Yes the monitors indeed have much space. You see all right :) We really like to have the sounds expanding in the whole room, and especially for my music it is even necessary.

That is way too much space. Ideally you should be at the tip of a perfect triangle, where you are the same distance from either speaker as they are from each other. Right now you would have to be in your neighbors apartment for that to occur.  ;D  Honestly that layout would drive me crazy, where the keyboards and computer are right next to one speaker, and then miles away from the other. And the effects rack right under the mixer forcing you to straddle it or stand the entire time when using the mixer. But whatever works for you.
79
Music Gearheads Tech Talk / Re: Moog Factory Tour.
« Last post by LNerell on July 03, 2017, 11:48:07 AM »
Looks like a great time, it reminds me of my time at Oberheim.  :)
80
Other Ambient (and related) Music / Re: Steve Roach & Robert Rich
« Last post by Altus on July 03, 2017, 06:05:56 AM »
Roach and Obmana 8)
Agreed. These two together produced some amazing music. Well of Souls, Cavern of Sirens, Ascension of Shadows, and Spirit Dome are my favourites.
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