MUSIC, AMBIENCE AND SOUND ART > Other Ambient (and related) Music

Compass by Con_Sense


Ben Fleury-Steiner:

This is our latest offering on the Gears of Sand label.  It has such an incredibly inviting sound.  Like Monoloake and it's addictive beats with the production values of the best, most spacious, well composed ambient records.  Don't miss it!

Ben Fleury-Steiner:
This is a nice one penned by our man Darren B coming out this month in his new column in the terrific print magazine Signal to Noise

Published in:
Circuit Breakers electronica column

Delaware-based Gears of Sand label has in a scant few years raised the bar for CDR wanna-be’s, thanks to gorgeously rendered artwork (jeweled art within a jewel box) and the taste of owner Ben Fleury-Steiner, a musician in his own right whose keen ear sports radar sharper than NORAD’s. The two latest GoS releases burn the candle from different ends, but each unveils the kind of elaborate, sumptuously-minted sound design that demands you break open your well-worn wallet yet again. On Compass, Con_Sense part the overwrought red seas of laptop nonsense in the yielding of sonic schemes aburst with good sense. Scattering moonshot contrails over grey fields that drone on into the night, the mysterious duo possess a rhythmic tenacity that makes for heady spiralling down their interspatial sinks. Case in point is the lengthy “Sirius”: astronauts in awe viewing swiftly blossoming nebulae, synths a rush of blurred images surging in heavenly resins, until fluorescent beats eclipse the night sky, bidding travellers’ return. Con_Sense inaugurate a new breed of cosmic courier, dreaming in tangerine yet funkily-flavored—pretty great. Back on earth, newcomer Yui Onodera clearly owes some tuition to the Noble school, and, like other artists on that engaging Japanese label (plus its spiritual aesthetes residing at 12k, Plop, Apestaartje, Headz), works a filigree of means into tightly-wound ornaments of sound. Rhizome examines the residual eddies orbiting about noises glimpsed at nearly subatomic levels, where the crunch of neutrons becomes palpable, where congregations of masticating insects assume intensities of biblical proportions. Recalling Michael Prime’s fascinating anthropomorphic capturings of plant tissue, Rhizome’s effects (constructed out of hand-picked field recordings, electronic drizzlings, ultra-processed guitar, and piano will o’ the wisp) echo across vast microbial regions to reveal the teeming events unfolding deep within. Hugely engrossing, as it should be. DARREN BERGSTEIN

darren bergstein:
hi ben:

just to clarify, the review you posted here in its entirety also discusses your GoS yui onodera release Rhizome as well. appreciate the posting.


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