drone / ambient / experimental

With a release title that makes you open your mind during the 'stay at your place' period in Europe and further, Music For Installations still sprinkles some tantalizing pepper in our electronic noses. Pieter Gyselinck is not only the man behind the ambient project Lounasan and the second half of the electronic duo Cycles Of Moebius, he also shows a lurid and experimental side of himself with Music For Installations.

Fractions Of Unity consists of ten sonic fractals that open up as infinite sound compositions filled with the reflection of a split personality. We already noticed the Dr. Jekyll and Mr. Hyde feeling in the various other projects of Gyselinck, which are further explored in Fractions Of Unity. The undulating soundscapes alternate with dark drones that produce an eerie atmosphere of madness. By means of mysterious signals, samples and percussion, Gyselinck's sound constructions scratched permanent scars in various places on our hard disk.

No lack of experiment, we were glued to the synthetic and threatening sound pulses that slowly brought all kinds of dust particles to the surface containing disturbed alien sounds. The unearthly rumble buzzed like mechanical bees back and forth between the eardrums. The dark and machine-like constructions of the tracks was encapsulated with bizarre signals that generated a strong sense of panic choking.

Fractions Of Unity listens as an experimental ambient drone trip that was rolled into an exciting and threatening electronic block full of stimuli. Music For Installations is unfortunately, still in the box unknown is unloved. With Fractions Of Unity there may certainly be some change. A Belgian quality release in the genre.  

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Patsker

ambient

The Dutch Databloem label marked its birth in 2002 and is specialized in high quality ambient and electronica releases. Nowadays the label is still active in releasing beautiful pieces of electronic music on CD(r) with stunning artwork covers. The most known electronic music artists who released work on Databloem are Oophoi, Mathias Grassow, Yamaoka and Nacht Plank.

To us the less known creators of electronic productions could be the most interesting. Petter Friberg is Motionfield and a well-known musician of the Swedish ambient scene with already several releases since 2006. He is also active with the IDM project Arctic Surfers. Like a lot of Scandinavian artists, Friberg is inspired by the vast Nordic landscapes and its nature which give the music on Always There a touch of bearable emptiness. The slow but impressive soundscapes have detailed injections of field recordings and squeaky vibrations. 

Always There has ten parts with floating ambient structures translating the extreme contrasts of the Scandinavian seasons into dreamy sound landscapes using modular synthesizers and samples. Petter Friberg takes us to a filmic trip with healing sounds, emotional vibes and dreamy deep listening parts. The sonic scenery of Motionfield guides the listeners into an extraordinary world of rippling and peaceful sound structures. In any case, this album has a mind digging effect and sounds like ear candy during the quarantine days. We very much advice you to check out more of the unknown pearls on the Databloem label’s Bandcamp page. A new interesting ambient world is what Motionfield presents. This lovely ambient work was (only) on digital format released on October 17, 2019. 

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Patsker

pop / ambient / shoegaze

Midwives are able to help giving birth to new life and enduring all the pain one (woman) can bear. They transform all the pain into the most joyous of moments. Madeline Johnston chose that name as her stage moniker several years ago and has since released two full-lengths and a b-side collection as Midwife after using Sister Grotto for several years.

Midwife’s music is different in a way, and that becomes clear from the very beginning of “Forever”: “2018” starts with a piano melody in minor keys before the ambient spheres starts in the background and Madeline sings “This is really happening… to me” as if she wants reality to fall apart and away under her vocals. You can already hear her despair under all the distorted singing, she is not going to sing about the beautiful sides of life. She is moaning, accusing life of all the negative things she is going through, like the loss of the beloved creative working/living space Rhinoceropolis in Denver in 2016 and, even harder for her, the suicide of her friend Colin Ward, who she shared an apartment at Rhinoceropolis with, in 2018. Ward can be heard reading out a poem on “C.R.F.W.” (his initials) for about four minutes until a simple drone sets in spiraling upwards accompanied by simple guitar lines and no additional words – a kind of wordless mourning. 

Pain and beauty – the two sides to Midwife. The drones have slightly harsh endings just before they ebb away beautifully. The guitar lines are steady but never boring as the are often supported by a delicate echo that makes them reverb into open space. Johnston’s compositions float through the air not being tied to any earthly weight so that you watch them for hours on end without being bored at all. On the other side, the lyrics can have a very different effect because they are among the saddest in a long time. Forget all those black metal bands who are trying to tell you how dark their lives are – Midwife’s songs are real because they are honest and one truly feels afraid for what is going to happen to her next. 

This might be the catharsis of the year, the one record which tells you how shitty life is and how you are not able to run away from it. But talking about it at least opens your chest for a breath of fresh air while looking up at the beautiful blue sky outside. Beautiful moments in painful phases of life – Midwife. 


Thorsten

ambient / soundtrack

Perhaps some artists don't like to read this, but over the years I found some of my favorite albums in the sales-bin at record shops. Quite often, those albums are slightly different than most releases, a bit off-beat and experimental. That is also where I discovered Polish composer Jacaszek. His 2012 album 'Glimmer' was on sale, along with several other ambient and downtempo electronic releases. I spent quite some money that day and I went home with a backpack filled with CDs. From that batch, 'Glimmer' has become one of my favorites and  since then several other Jacaszek releases have been added to my collection. Now, 'Music For Film' will join them.

So, Michal Jacaszek is no stranger in this household. His approach here, a mix of gloomy electronics, ambient, classical music and often glitchy soundscapes feels otherworldly yet soothing. On 'Music For Film', a collection of soundtrack compositions, that trademark is still present, although sometimes it does feel like Jacaszek had a slightly different audience in mind while working on these pieces of music: the movie critics. Most tracks on 'Music For Film' are listener friendly, pushing the strangeness of some earlier releases somewhat to the back.

​Which does not mean that this is a sweet, easy listening album. Opener '49' explores the piano in a melancholic and nostalgic way, aided by mild strings. 'The Iron Bridge', second in line, is one of the weirder tunes. Although it contains a certain rhythm it might be best to categorize these sounds as "musique concrete". 'November Early' feels like a piece of classical music written for dark jazz fans. That being said, I'm one of those dark jazz fans and I absolutely adore this track. 'Twelve Years' is a slow and gloomy piece of work, driving on a sluggish beat and lingering strings.

'Dance' combines mild noise with a chamber orchestra, so it seems, and 'Christ Blood Theme' takes us to dark monasteries. 'Liina' excels in minimalism while, another one of my favorites here, 'Encounter Me in The Orchard' visits mystical lands and biospheres. For the last two tracks, I'll have to repeat the words dark jazz and classical music. Yet, don't worry, they're equally enchanting and interesting as the rest if this album.

So, this is 'Music For Film', not only an excellent album but also a great argument when stating that Michal Jacaszek can easily compete with the Zimmers and Elfmans of this world. He can, believe me. 'Music For Film' contains pieces from Rainer Sarnet’s 2017 black-and-white fantasy drama November and the 2019 documentary He Dreams of Giants, among others. If you're a fan of either ambient, dark jazz, gloomy electronics or classical music, you need to check this out.


​Serge

electronic / ambient / Berlin School

Belgian NeuMusik

The brand new label Littl' Antenna Records is the result of the live sessions of Littl' Antenna that take place in an old post office (PostX)in Merelbeke near Ghent Belgium. The Belgian electronic music world has a brand  new music label, on which Hyperkube's PostX try-out set was released both digitally and on CD under the title Remnants.

Hyperkube is the project of bedroom artist Tom Coppens who mainly focuses on producing electronic sounds treated in the Berlin School style. Remnants shows a collection of cosmic sound structures fed by sequencers and pulsating synths. The atmosphere on this live recording is affectionate, cheerful and has dreamy structures. However, we cannot speak of real floaty ambient here because of the emphatic penetration of the used sequencers.

The organizer of the PostX sessions (Alain Kinet) saw Tom Coppens at work during an atmospheric performance in the church of Herent and asked to perform this set again in the old post office. The unknown Tom Coppens apparently left a strong impression with his slightly dramatically boosted electronic tones. Hyperkube took the inspiration of greats such as Vangelis, Tangerine Dream and Klaus Schulze. With this legacy a brave, rippling mix of electronic music was molded.

The distribution of the Littl' Antenna Records releases (there will be more) is done under the wings of the Wool-E Discs label.

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Patsker

ambient

bandcamp

Another interesting take on ambient, cosmic sounds and experimental music, and once again released on Mystic Timbre. Thus, another great album to dive into during the days of Corona forced house arrest.

Phantoms vs Fire is composer Thiago Desant, who seems to be influenced by everything between classical music, ambient and psychedelic space jamming. On 'Superbloom II' these influences translate into eleven daring and captivating tunes, a perfect soundtrack for your most wicked sci-fi fantasies.


The tracks are rather short but perhaps that makes them even more immersive. 'Lost Worlds' immediately sets the tone. It's an ambient track, reminding me of both Laraaji and Constance Demby, but with a stubborn character that refuses to be categorized. There are more of these tunes to be found on this album. Take 'Downpour' for example. In a way, this could be on a David Lynch or Tim Burton soundtrack but then again, the music would overtake the entire atmosphere and turn the viewers into listeners, captured in these mesmerizing sounds with their eyes closed. I don't think Lynch or Burton would appreciate that. 

Personally I adore the warm organic sound of the double bass which guides the free floating sounds, which a beautiful track like 'Lavender' perfectly illustrates. In a way, this could be seen as classical music but placed in an out-of-this-world setting. What happens here, and in most of the tracks on 'Superbloom II' is simply fascinating. Or how about the Tangerine-esque 'The Botanist', where synths and sequencers take the listener on a deep space journey. In a whole different universe, we can find the odd 'E Song', seemingly representing the blooming of nature on a different planed.

I guess you'll get the idea by now. 'Superbloom II' is a perky but luscious album, packed with surprising pieces of ambient music. It's one of those albums that inspire, which makes it a perfect companion for evening walks, writing sessions or painting practices. My suggestion: go over to Mystic Timbre and get your hands on a copy of these tapes. Then play it and get baffled about your own creativity (and that of Thiago Desant, of course).


​Serge

ambient / post rock

bandcamp

When I started this website some five years ago, one of the first things I noticed were the one man post rock bands. It seemed like every town around this planet had its own weird loner making atmospheric tunes on his bedroom. Many of them had become quite good at it, too. Yet, throughout the years those one man acts seemed to  have vanished, or at least disappeared from our attention span. Of course, many other things happened here at Merchants Of Air but I started to miss them, even though I was not really aware of that. What I'm trying to say here, is: I feel like this album brings me back to the early days of Merchants Of Air, where we supported even the loneliest of talents.

Almøst Silent is G.Teixeira, residing in France and successfully locking himself up in a Parisian room to create a gentle mix between down tempo, ambient and post rock. 'Swamp Tales' is a lengthy album, containing fourteen tracks, including a few intermezzos ("Fills & Gaps"). It all begins with 'Black Moose', which calmly lures you into the world of Almøst Silent. That world is one of rest and  friendliness. Nothing on this album is heavy or intense ('Curse Of Relationship' being the perfect counterexample of that statement). Instead, Almøst Silent mainly goes for a warm and comforting sound. With (mostly) programmed drums and soothing soundscapes, Teixeira creates a meandering foundation to paint guitar loops and piano riffs.

In the opening paragraph I mentioned something about some of these acts being really good at what they do. Well, Almøst Silent certainly belongs in that category. Once again, I can see this music enchant the audience in the forest at Dunk! Fest, should Teixeira decide to bring a band or find a way to perform this beautiful music live. 'So Low', for example, is such a sweet tune, perfectly capable of sending people on their way to a beautiful daydream. I don't know if that is every going to happen, but we can only hope, can we?

Another aspect I really dig, besides the excellent performance of vintage post rock, are the guitar licks. Here and there, as in the brilliant 'Leaving Jupiter Is Not An Option', these guitars bring something progressive rock-ish to the mix. These also showcase the splendid storytelling qualities of Almøst Silent. A Swarm Of The Sun comes to mind, mainly because of the way these songs build-up. I guess that's a huge compliment. 'Swamp Water' is truly worthy of that comparison and one of my favorites on this album.

'Because That's A Glitched One' comes up with the Boards Of Canada-esque beats, arguably the most electronic sounding of them all on this album. They guide an array of guitar-scapes and keys, turning it into another favorite of mine. But, I guess, that's mostly because this album is just so easy to become enthusiastic about. Almøst Silent delivered something worthwhile, a solid statement of how well one-man post rock bands can actually become. 'Swamp Tales' is a great album, one that many post rock and downtempo fans alike might appreciate.


​Serge
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ambient / shoegaze

Planning for Burial-like. Have a Nice Life-esque. Archive-ian. Review over.

A: Wait – over? 
B: Yeah, why not?
A: Cause it’s too short and non-explaining.
B: Why do I have to explain that something is great when I give such great Comparisons?
A: Because you do not compare the new Folian record Blue Mirror with these bands, you merely give non-existing adjectives connected to these bands.
B: But isn’t that enough for everybody who knows that the new full-length David Fylstra’s third release within the last two months?

A: Well, how many people do you know who know that Fylstra released a split EP with Shifting Harbor called “Tenemos” on January 2nd and a one-longtrack-collaboration with Entresol called “The Archangel of Huntridge” on December 19th before?
B: Hmmm okay, but most people should know that Fylstra is able to convey an atmosphere of naturalness by incorporating shoegaze elements, some industrial sounds, field recordings, guitar work and some ethereal vocals!
A: Yes, most people should know that; however, we both know that they don’t know and not everybody follows The Flenser and it’s connected artists that closely!
B: Wait a moment, Blue Mirror is released on Fylstra’s own Anima Recordings, not on Flenser, only because he collaborated with .drowse for some of their tracks does not mean that all the Flenser-die hards know about him.
A: Of course the die-hards know, but maybe you are right, cause apart from that his work is not that known.
B: Although it should be as he also worked with bands like Bible Black Tyrant or Ramprasad. 
A: Although they should yes. Do you know what hit me most positively about this record?
B: Tell me!
A: That is all flows together so naturally, that none of the elements dominates the others and that it sounds as if he knew straight away where he wanted to go with this release like he had a planned out map for his way through all of the fog and the forest of Portland where he lives and works and which definitely influenced this record a lot.
B: But isn’t it the way that he was struck by the intricacies of modern life and all its negative consequences on our way of living?
A: It might be and you definitely can feel the paradox of man trying to connect with the old ways (represented by the lots of acoustic guitar and the field recordings) and our longing for modern-ness and “the new” (shown by the industrial beats and the shoegaze walls of sounds).
B:  Oh is that why you wrote that shortest of reviews?
A: Yes, because that’s what these artists also do. Combine old and new. Each in their very own style.
B: Ah, okay, so let’s just say this album is:

Planning for Burial-like. Have a Nice Life-esque. Archive-ian.


Thorsten

drone / ambient

German electronic post-rock pioneers Collapse under the Empire have a brilliant 4-LP retrospective on Moment of Collapse Records. The compilation is the regular kind of anthology with some b-sides (for example the brilliant “Spark”), remixes (“Sacrifice”) and new tracks. Those are the new single “Beyond Us” opening the first LP with a brilliant combination of a harsh riff with electronica sounding like an instrumental remix to an undiscovered punkish Depeche Mode track. “Everything Disappears” is like a Latin-style percussion underneath a beautiful and uplifting piano motif with a spiraling guitar line in the background; the third new track is “Anomaly” sees a stomping beat and a spherical ambient space. Of course, some hardcore fans will already know basically all the tracks but the packaging and the beauty of those four vinyls are definitely a reason to purchase this one – especially newcomers to the band might be interested in this one as it is a perfect “entrance” into the realm of this defining post-rock band!

punk / hardcore / screamo

Loma Prieta are back! After a break of more than four years, the quartet from XYZ is back and kicking. Their first 7” after their hiatus is published via Deathwish Inc. and features the two tracks “Continuum” and “Fate”. The first one starts like a sped-up version of the Buzzcocks’ “Ever fallen in Love” before it turns into a Loma Prieta-style post-punk version of Screamo. “Fate” might be even a bit more impressive as it sounds like a mix of Fugazi and the Pixies. As usual, the lyrics are what makes this band great, as they oscillate nicely between clearliness and abstraction, compare the line "Drugs and God the same distractions / Lay on the dirty floor and stare at the ceiling, like it was a planetarium dome" – the last portion trying to explain where the universe comes from while the first one seems to purvey the idea that drugs (to loosen you up from questioning to much) and God (to overlay your sensibleness with believe) give us two different experiences of the universe above us; what a brilliant concoction. Once again, Loma Prieta are back!

progressive metal

Sometimes the meal cooked with simple but high-level quality ingredients is much better than one with a lot of different ones. Try a classical Carbonara, without cream or anything the like. With Grant the Sun’s new EP it is similar. One might argue that due to the people involved already have quite a standing in the musical community, especially Frederik from Meshuggah who is featured here on the bass, but there is more to this 18-minute, four-song EP; the songs are spreading a certain heaviness with the guitars even reminding one of some djent-ish style kick-riffing and the bass supporting it. The songs are somewhere between math-rock and prog-core with lots of heavy riffs and some very interesting vocal samples interspersed to give the release an even better flavor. One can chew on those songs really long because there are a lot of small details to discover, for example the brilliant tempi changes. However, one can also digest this album in a laid back manner as everything flows exquisitely together forming one huge, ass-kicking harmony of intelligent prog-core.

post rock

Cologne-based threepiece Von Mises self-released their first EP at the end of November and it shows an interesting sign of life for a local newcomer. They might have listened to a lot of Russian Circles and Pelican because there are definitely traces of it in their sound-verse, especially the use of a heavy kicking bass combined with a knack for simple but effective breaks to let the song take in some fresh air before it sets in again. The band might make use of their synth a bit more to include some of these refreshing little ditties that makes, for example, “Universe” such a unique track or the structures and layers of “Dxdt” more complex than one would expect from a young band. The guys from the Rhine should pursue this combination more strongly and they are bound to gain a larger audience. Not just for die-hard fans of post-rock, also for those who are searching for a fresh tune to kickstart their day.

black metal

Judging a book by its cover can bring wonderful experiences like buying a record you never would just because the cover is so shining that you are immediately drawn to it. Or the name of a band that simply wants you to like it (Yes, I look at you We Butter the Bread with Butter!). Certain song titles are just so good that you love the track without listening to it (see Death by Stereo’s “No Cuts No Buts No Coconuts”). With Tragedy in Hope it was the same with me, I loved the name of the band – so nihilistic – and I thought the title of the EP was pretty proud. When listening to this new outfit from Russia’s thriving black metal scene, but admittedly I was wrong. The songs are not the problem for they are solid black metal structures and moods, after the intro I liked it a lot. And then the vocals set in and, well, the vocals are the flaw in the construct. With a different vocalist or a change of style, maybe even a different approach, for example going instrumental, this might become a relevant act. This way it isn’t, at least not for me, and that means nothing.

post rock / progressive rock

Writing a review for a fellow is not the easiest thing – what shall one say? What can one say? How objectively do I judge the record? Well, in the case with Home Brewed Universe’s new record it is quite easy. My only criticism would be the drum sound as it’s not as emotional as before but very clean and crisp. All the other bits about this record are really interesting. The mastermind behind HBH has tried to capture a soundtrack to a fictitious story of the Time Thief who is able to prolong his own life by stealing time from other people and who even is able to travel through time but who is forgotten by all he knew. The music to the interesting story is very focused on the riff and thus it is very different from Arka’s previous outputs, when he focused on layering bit over bit. Now the audience is faced with a lot of strong, prog-metal-like riffs that dominate the sound and drive the songs through all different kinds of stages. This review for a friend’s work was easy as the release itself is very easily accessible and still interesting enough to keep the audience listening. 


​Thorsten

ambient / experimental / avantgarde

Unexplained Sounds Group

There are people on this planet, with a devotion for music, who are willing to dig as deeply as possible into the underground scene. The result of  Rafaelle Pezzalla (also active as Sonologyst)digging is almost unlikely. The sympathetic Italian is the driving force and seeker of the Unexplained Sounds Group label, which focuses entirely on the contemporary experimental and alternative electronic music of our overpopulated planet.

With the new Unexplained Sounds Group release 'Anthology of Contemporary Music from Middle East' he presents a new chapter of the Sound Mapping project with special attention to non-Western countries, following the selection of contemporary electronic music from the African continent.

This compilation focuses on experimental and alternative music from the Middle East and includes artists from Egypt, Lebanon, Turkey, Bahrain, Kuwait, Iran, Israel, Iraq, Palestine, Jordan, Afghanistan and Cyprus. This anthology shows a very interesting look at the productions sounds of artists rooted in their traditions with a progressive look at the new limits of their music.

These (as yet unknown) sound paths explore both experimental and radical improvisation, disturbed electronic tribal sonic structures, and psychedelic noise-drone escapades that sublimate the grains of sand in steaming ground breaking soundscapes. Anthology of Contemporary Music from Middle East reveals here an incredible sound puzzle in which the listener will find his favorite way to new places of architectural music constructions.

Speaking of a musical mind fuck, this compilation is a must for fans of experimental and cross-border electronic music. We have been stunned by this collection in a supernatural way. Top!

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Patsker