Jazz-touched electro and downtempo.
My Never Ending Wish consists of three distinct pieces of
moody, late-night electronica. Signify opens the set with
sleepy vibes, smooth synthetic tones and muted brass embellishments;
a dreamy combination given a nice twist by being set against
a disjointed beat and twitchy, rubbery bass. Intimate female
vocals breath languidly through this bedarkened after-hours
atmosphere acting not so much as the singer of a song as
a personal guide through the music. The more upbeat nu-jazz-funk
influenced Streets retains similar sonic elements and mood
whilst shifting to something of a shuffling dance-floor
groove - squelching bass and echoing sax phrases underpinning
deep soulful male voice snatches. The concluding piece winds
down into soporific ecstasy - cinematic strings and light
beat slowly meandering in widening spirals. Eventually a
slow chiming melody pulls the listener deep into the music
before the beat heaves into a more gusty, climatic churn
then once again dissipating and dropping away.
Never Ending Wish is released as a digital download - the
only artwork that I am aware of is the attractive cover
image seen above. This deceptively simple design well captures
Emotion Coder's musical vision: on the left bright, pixelated
green hues overhang a zone of obscure darkness. Against
the black a curling swirl of light twists upward like lazy
plumes of smoke. The EP title almost goes unnoticed, laid
out in small font upon the darkening squares. The juxtaposition
of light and shade, geometric techno-colour and organic
form hints deftly at the audio content Emotion Coder here
self taught musician Victor Marak might be known to some
listeners from his work with Indo-Electronic outfit Tablatronics.
Now though his debut EP under the Emotion Coder moniker
- My Never Ending Wish (released on the Romanian Mojear
Records label) - has quite a European feel. The three tracks
are of varied character, drawing together elements of acid
jazz, trip hop and downtempo, however Victor maintains a
strong overall tone throughout that nicely fuses the compositions
into a unified listening experience. You can hear some of
the EP at Soundcloud
or at Beatport
- or the music can be purchased via Amazon
if you prefer.
Peyote - Heaven and Earth
Luscious chillout world and dance music.
Heaven and Earth elegantly weaves an enchanting tapestry
of modern genres: colourful indigenous performance; meandering
ambience; gutsy dub and electronica; sleepy global exotica.
The range of sonic material is impressive, programmed arps
and synthesisers are accompanied by electric guitar, bamboo
flute and other acoustic instruments. But there is so much
more: from such subtle touches as a single cuckoo and low-key
reversed music samples to a soaring female Indian singer
with accompanying drones and bows; echoing children's voices;
lazy slide guitar and a veritable plethora of electronic
effects. The tempo shifts pleasantly throughout the album
yet always remaining in the lower bpm range - Dub the Magic
derriere tripping along with a meditative dance beat of
percolating sequencers and tablas; Crystal Skulls insistently
plodding along with a ponderous live drum sound. Intros
and outros linger pleasingly in some of the album's more
evocative spots and there are plenty of spacious, unhurried
interludes where rhythms to fall away into alluring musical
album opens with a rippling electro-chime pattern and spacey
synthetics that beckon a misty flute breathing across a
drifting, gradually climaxing terrain. Indian hand drums
beautifully complement the sense of earthy wonder, later
fading away to be enhanced by a flickery digi-rhythm that
reminds us that this is a very contemporary journey. The
second track Bouroukou ventures now into the tangled roots
of heaving tribal percussion, ethnic chants barking emphatically,
a sinewy squelch bass line forging a path in pursuit of
keening guitar and synth whispers. Further tracks maintain
a mesmerising downbeat consistency; prowling, floating or
bobbing restfully as the mood shifts. Bird calls and sibilant
scrapers soften the nodding dub of Shake That Snake where
the minimal melody is given a sense of peculiar wonder by
a range of reverberating effects and light washes. From
Above winds the album down with a wistful nostalgia - a
swaying temple bell pattern buoyed up by distant, soft-focus
clouds of sound and a mournful string melody that finally
evaporates away into empty air.
and Earth is a lush digipack release that really is feast
for the eyes. The inspired graphics created by Andy Thomas
picture the theme well: from the verdant depths of this gorgeous
planet through the clouds to the starry expanse beyond. The
front cover montage has a violet, blue and lilac cloudscape
atop a muted shot of the globe in space fringed with a profusion
of intriguing vegetation and fractals bubbles as if the viewer
were looking out from among the greenery. Track titles are
on the rear where the flora has intensified into a dense forest
tangled with twisting roots clinging to the edges of a sharp
fissure. Internal imagery continues this striking blue-green
colour scheme - an explanation of the project and thanks are
Melbourne, Australia based Yvon Mounier returns with his
fifth solo album as the dreamily psychedelic Don Peyote.
Follow-up to the 2008 Peyote Dreaming album, Don continues
his exploration of downtempo global music with Heaven and
Earth released via his own Don Peyote Recordings label.
Promotional material explains that "Don combines crisp
production with intelligent arrangements, drawing upon indigenous,
otherwordly and dub influences to create a soundscape where
every moment counts." The nine tracks here certainly
live up to that claim - see for yourself by visiting Don's
Bandcamp page or discover more about the project via
Don Peyote website.
music project started out from a collection of song titles
that I have collected over the years. Each of the titles chosen
on Heaven and Earth reflects a personal event or experience
at one time or another that has touched me deeply during my
journey through this lifetime.
My desire is to share these personal encounters with you via
a sonic voyage that draws from deep earthy rhythms with a
blend of etheric and dreamy soundscapes, to inspire the experience
of our shared existence... Don Peyote
and Earth has sparkling depth and psychedelic detail. Don
Peyote has crafted an epic new journey with a spacious and
dubbed out sound..." - Andrew Collins from Interchill.
"This is beautiful, lush ambience, perfect for sunny
days and starlit nights. Evocative and uplifting, music to
dream to." Toby Marks - Banco de Gaia
"With Heaven & Earth, Don Peyote traverses through
a spacious ethno dub infused landscape laden with intricate
sounds, punctuated by voices unbeknown, creating a story line
that breathes with depth and space, while showing his maturity
as great and versatile producer." - Andrew Till /PSY
"Heaven and Earth" is an elemental voyage through
tastefully crafted sonar landscapes. Dub, world groove, enchanted
vocals...Don Peyote got it all! - Irina Michailova
" Produced without compromise, Heaven and Earth continues
Don Peyote's creative development as a visionary electronic
musical maestro and exemplifies the maturity and genius of
one of the planets leading exponents of this musical genre."
- Eugene E-NRG /spacebetweenthegaps
Corbacho - The Ocean Inside
Long-form drifting, beatless ambience.
The Ocean Inside wells up out of silence in silken mists of
tone that imperceptibly condense into an immense ocean of
sound that surrounds you before you know it. The initial feeling
is warm and softly wondrous; a sense of floatation is well
established and you are immersed, carried willingly by tides
unnoticed. Tracks segue seamlessly from one into another and
so the experience is unbroken, constant, pervasive. Shifts
in tone or character are subtle: brighter string sounds introducing
currents of sharper intensity; deep atonal pads suggesting
descent; choral hints inviting reverie. The seventh track
on disc one eventually fades away into silence - allowing
the final piece to stand somewhat alone - almost half an hour
in length Towards The Bottomless Sea is a velvety minimal
tidal impression of great delicacy drawing the meditative
nature of this album to an impressive slow-motion conclusion.
Disc two continues where disc one leaves off: further exploration
of fluid enormity and buoyancy developing this restful opus
into near-total absorption.
matt-finish double-disc digipack; The Ocean Inside is drenched
in deep night blue hues throughout. The subtle panorama that
is revealed when all three panels are spread out suggests
a body of water of indeterminate extent. Touches of light
dapple the lower parts whilst faint beams gently illuminate
the higher regions. Text is unobtrusive: titles on the rear
with track times alongside; credits on the remaining outer
section. Within, nothing disturbs the smooth watery expanse
of colour except a single repetition of the title.
Ocean Inside is the eleventh solo album from Spanish ambient
master Max Corbacho. Released via his own ad21 label, this
double album sees Max demonstrating the tranquil immensity
that this genre can encompass when at its best. The aural
equivalent to a vast, vast colourfield painting, The Ocean
Inside fills your mental space with densely saturated morphing
zones that extend for almost two and a half hours in total.
Most pieces are of medium length ranging from four minutes
to almost sixteen; the recordings that conclude each disc
however are of greater length - twenty-nine minutes thirty-one
seconds and twenty-four minutes eight seconds respectively.
Max himself says of the music: "More than two years
ago I started this project from an Eastern concept that
has always been present in my work: the analogy that exists
between the mind as an ocean, with constantly changing waves
at the surface, and the inner stillness and silence at the
depths." You can hear the music at Max's
official website where there are a range of purchase
and download links.
than two years ago I started this project from an Eastern
concept that has always been present in my work: the analogy
that exists between the mind as an ocean, with constantly
changing waves at the surface, and the inner stillness and
silence at the depths. It is from this seed that brings me
to the concept of "Oceanic", the word from which
I have been developed each of the parts that make up the album.
During the creation of these pieces, I tried to go as deep
as I could into this bottomless ocean depths. The Ocean Inside
is the record of that dive into the depths, the witness that
what matters is not how deep you can go, but the experience
of that moment."
Würden - Or Lost
Experimental, ambient with environmental elements.
Or Lost intertwines traditional musical sounds with found
sound and unusual sonorous objects to create gently rhythmic
ambient music with a deep sense of mystery. In places Or
Lost builds into something approaching harmonious downtempo
- sections of 'it' or 'fulfilled' wouldn't sound out of
place on an Ultimae chillout release. In other places things
become far more abstract and exploratory: peculiar drifting
soundscapes or enveloping aural environments that are full
of hidden depths. Delicate clatter, clicks and static flecks
are sprinkled upon beds of muted chimes that undulate in
oceanic swell, rainfall or water motion spatters against
struck objects and synthetic drones that slowly morph into
minimalistic programmed beats. Using a contact microphone
to 'reinterpret' the clang of a porcelain bowl or a parasol
stand Max has built up a unique sound-palette which, when
combined with unusual instruments such as a hang drum, results
in percussive structures and textural forms that you have
heard nowhere else.
Lost is presented in sombre monochrome - a crisp digipack
of two panels - low key without; high key within. The main
image is a feather vane abstraction: dark curving barbs
provide an impression of organic structure - close enough
to hypnotise the viewer with the overall simplicity yet
engrossingly detailed. Track titles in simple font are on
the rear where a little more light creeps in from a split
in the surface. Contact details and brief credits sit at
the foot of this section. Inside, the surface is flat white,
fluffy afterfeather edges breaking up the extreme left side
of the panel. The disc sits in a neat plastic grip on the
inner right, whilst the phrase 'soundtrack for a river'
hangs central of the left. 7 intriguing colour photocards
are free with the first fifty copies of the album.
Max Würden releases Or Lost as his third solo album
and follow-up to his 2011 release Mi Raccomando. Max is
a computer game sound designer and musician, having created
music for radio plays and short films as well as his album
releases. Returning here to Farfield Records, though which
label Max delivered his debut ORTLOS back in 2002, Or Lost
provides eight mid-length recordings of top-notch pioneering
ambient. Or Lost is described as music that "manages
to sound profoundly different and strangely familiar at
the same time. It’s darkly mysterious in one moment,
like a deep rumble in the far distance, only to become powerfully
intensive the very next." Discover the music for yourself
in more depth via Max's
official website or via his spots at Bandcamp
Of course, more information and ordering details can be
found on the official
Farfield website too.
my last ambient album ORTLOS it took me more than 10 years
to get my second ambient album ready. Not that I haven't
done anything in the meantime, I was simply busy producing
radio plays and composing soundtracks for about 20 short
films and movies. Not forgetting gleaning my sounds of nature
and urban sprawl.
OR LOST came together in special moment of tranquillity.
Countless field recordings and spontaneous sessions (e.g.
with a parasol stand in "perfect moment") were
at the heart of the development of the OR LOST songs.
From all the field recordings I created certain samples,
arranged them again and again, until they found their relation
to one another, their moment, my moment in music. A moment
I am always looking for.
And this makes OR LOST a very personal album.
And the search goes on.
Ellis - I Am Here
Long-form melodic electronica.
Synths and sequencers in colourful profusion reveal the
ever-changing breezy landscape of I Am Here. Opening with
a huge distant drum boom and a peculiar voice-like tone
keening in the air, the expansive sound of Paul Ellis is
immediately obvious. Smooth drones and rippling arpeggio
patterns soon lay down the basic terrain, shifting and changing
in natural progression. The sonorous rumble of drums builds
as the music develops, sharpened by programmed hits and
in places solidifying into open-sided beats. Passages of
strongly rhythmic sequencer forms, bass pulses and lazy
percussives make up the rock mass of the compositions, moody
introductions and spacious interludes often opening up the
air. A plaintive cello of Celtic intensity wafts across
the beatless dronescape that occupies the mid-point of Chinook
Wind; peculiar wind-borne presences and dull chimes inhabit
the opening space of I Am On An Island In The Columbia River
and a vibrant array of Berlin inspired electronica burbles,
throbs, soars and coruscates throughout.
Am Here is presented in a twin-panel card wallet - no plastic.
The package has a bright, fresh feel to it; crisp outdoor
photographs of vast skies and broken reflections. On the front
cover is a landscape that sweeps over lake-side rocks, broad
waters, undulating tree lines and distant snow peaks. A closer
look picks out the carved form that animates one of the nearby
rocks, its ancient graven eyes appearing to stare right at
the viewer. Then the grey waterfowl transfixed before its
stony vision. The rear cover has a more crepuscular tone;
dark silhouettes against the low beam of the sun - a human
figure in the middle of the river in direct line with the
brightest light. Track titles are here and simple sleeve notes.
The inner panels hold two smaller pictures of broader panoramas
- one includes the artist in situ. Marked rock textures and
words from the title act as backdrop to thanks, love, credits
and some background details.
and musician Paul Ellis' thirteenth album I Am Here is a
powerful tribute to a nation long gone. Inspired by the
presence of the ancient Chinook people on a small island
at the Columbia River Gorge, the album establishes a suite
of beguiling landscapes touched with the nostalgia of distant
enigmatic civilizations. Released via the Spotted Peccary
subsidiary label Lotuspike, I Am Here is comprised of three
lengthy recordings: two at almost twenty minutes each and
one running for twenty eight minutes thirty three. Referring
to this suite as “my finest sequencer work to date,”
Paul talks of his music as revealing “mesmerizing
environments highly detailed, but open ended enough to allow
breathing room.” Look for the album at the Spotted
Peccary website where you can also read of Paul's other
work and collaborative projects.
Kowalczyk - Nova
Abstract ambient and sci-fi soundscaping.
Nova is a shady, minimalist drone-immersion experience.
Grey, mechanical pads and humming drones mass into sound
clouds that gently heave or throb; flow in purposeful tides
and currents or waft and dissipate. These smooth and matt
electronic textures are built up in complementary layers
often shot through with subtle, yet interesting effects
or faint impressions, suggestions of life or artificiality.
Snatches of spoken word, blurred and distant drift into
the mix - some grumbling and deep in pitch like slow-motion
giants, some less distorted although still fleeting, echoing
or remote so as to obscure the information offered. The
overall impact of Nova is one of stark isolation, sparse
low-light space noise where chordal variation is often close
to imperceptible, drifting uneasily among fluctuating densities.
glossy digipack of two panels: artwork for Nova retains
the minimal approach of the music. Images of space, heavy
and grey fill all panels, lit with varying degrees of stellar
brilliance. The front and back covers open into a panoramic
whole where luminescent galaxies glisten with myriad stars.
There is a tracklist in dark lettering on the rear that
gives the times for each piece and a footer that provides
credits, label, website and contact information. The inner
pair of panels pick up a horizontal brightness that crosses
over from the front cover running across to the disc - no
words here just visuals.
based Kamil Kowalczyk comes originally from Poland and has
been experimenting with electronic sounds since the mid
1990s. Having released a number of mp3 albums US via netlabel
Zenapolae, Kamil now delivers his music on his own Prototyp
Produktions Ltd label. Nova is the third release on the
artist's own label and follow-up to the 2012 release Atmospherics.
The nine recordings on Nova are all of mid-length from the
shortest four minute thirty-four Nebula II to the eleven
minute twenty-eight Andromeda; in all something just over
seventy-five minutes in total. The Prototy
Produktions website holds sound samples, videos and
live performance information and the Kamil
Kowalczyk band camp page also provides listening and