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Dustland by Gentleman Losers
4 days ago
Saturday, November 7, 2009
A video for "Swimming Alone" by Lorne David Thomson!
To accompany the release of his latest album "Swimming Alone", Lorne David Thomson has created a lovely video for the title track. It's an excellent example of ambient video and I encourage all of you to check it out!
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Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
"Luvyoo" by Strom Noir
Up until a few weeks ago I had never heard of Strom Noir and I really had no context for who they were or what they do, but listening to their latest release "Luvyoo", I'm quite pleased that they took the time to contact me and tell me about their music. On this disc Emil Mat'ko of Strom Noir has created an impressive collection of songs that uses guitar based drones as a foundation and builds up melodically and tonally from there.
"Sunday Soul" opens with a repeated tone with quiet intervals between notes, eventually building up into something more, other tones slowly added to the sound. Eventually a full space is created within the soundfield and there is a sense of a lush environment that's being presented. A very delicate and beautiful piece of music.
"Nothing Really Happens" has a warmer feel to it, again very natural organic sounds and tones, the sound of guitars lightly strummed and processed, field recordings, more. It's a warm and inviting sound, something that envelopes the listener in a soothing embrace.
"Ratatongua" has a decidedly metallic sound to it, though not in the way you'd normally expect. Chorused guitars play nicely throughout the track, a feeling of natural acoustic energy processed and effected in subtle but engaging ways. An interesting use of delay breaks up the track and moves it into a new space but ultimately the track remains steady along an established path. Nicely done.
"Jazzyk" rises up out of nothing, a steady drone growing from silence. Tones wash up against a liquid backdrop, the sounds of falling rain and water. As it progresses, the track seems to rise up from the water, eventually elevating high engough to evoke a feeling of space until it ultimately echoes out into silence...
"Morning Deja vu" begins with a steady pulse that plays throughout it's length, a deep tone that both mesmerizes and keeps the beat. Drawn out notes on the guitar elongate and echo, wrapping around themselves and reversing in ways to create a haunting experience for the listener. An aptly named track, well worth further listening.
"Planet Catcher" features echoing guitar sounds and the suggestion of reversed tracks with subtle starts and abrupt stops of notes. It's a nice space, a kaleidoscope of sounds that envelops the listener quite effectively. I like it.
"P.S. I love you" begins with a warm drone, little bits and pieces of sound playing along with it. As the sound builds, details become more clear, wavering and flowing throughout to provide focus for the listener. There's a warmth being presented, a loving embrace for the listener.
"Quiero ser Santa" opens with the sound of the sea and an echoing drone. There's a feeling of bending metal here, a quiet sound, all combining to create a very delicate track that entrances and hypnotizes.
"Wash their Souls" is another nice piece, a subtle drone melody in the forefront, with quiet seasoning in the background. There's a haunting sound to the piece, the feeling of walking down an underground tunnel late at night, the occasional clang or drip adding to the atmosphere. Given the title, I can't help but think this one is the soundtrack to a slow drip purge of sins, the error of one's ways slowly sweating out of the body.
"za chvilu je koniec dna" is an interesting piece that begins with a slightly buzzing drone underneath a field recording of a crowd. Eventually the crowd disperses to be replaced by a subtly ebbing drone where melody can just be imagined right on the edge of the soundfield. A repeated arpegio drifts in, adding a certain light and order to the track.
"Heartland" closes the disc, a slightly more defined track than previous pieces, where the music seems to be more clearly presented and distinct in the soundfield. Drawing from sound sources heard in earlier tracks, "Heartland" acts as a nice sampler for the disc, a wonderful summation of what's happened earlier and moving the music forward. Simple melodies, light drones, subtle guitar echoes, crowds, it's all here, blended together in a beautiful way.
Needless to say, "Luvyoo" is a rich and fascinating release that demonstrates an impressive understanding of musical forms and shapes. Over the course of its length, Mat'ko has done an admirable job of engaging and inspiring the listener, and if this disc is any indication of his earlier work, I will definitely make the effort to hear more!
rik - ping things
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"Sunday Soul" opens with a repeated tone with quiet intervals between notes, eventually building up into something more, other tones slowly added to the sound. Eventually a full space is created within the soundfield and there is a sense of a lush environment that's being presented. A very delicate and beautiful piece of music.
"Nothing Really Happens" has a warmer feel to it, again very natural organic sounds and tones, the sound of guitars lightly strummed and processed, field recordings, more. It's a warm and inviting sound, something that envelopes the listener in a soothing embrace.
"Ratatongua" has a decidedly metallic sound to it, though not in the way you'd normally expect. Chorused guitars play nicely throughout the track, a feeling of natural acoustic energy processed and effected in subtle but engaging ways. An interesting use of delay breaks up the track and moves it into a new space but ultimately the track remains steady along an established path. Nicely done.
"Jazzyk" rises up out of nothing, a steady drone growing from silence. Tones wash up against a liquid backdrop, the sounds of falling rain and water. As it progresses, the track seems to rise up from the water, eventually elevating high engough to evoke a feeling of space until it ultimately echoes out into silence...
"Morning Deja vu" begins with a steady pulse that plays throughout it's length, a deep tone that both mesmerizes and keeps the beat. Drawn out notes on the guitar elongate and echo, wrapping around themselves and reversing in ways to create a haunting experience for the listener. An aptly named track, well worth further listening.
"Planet Catcher" features echoing guitar sounds and the suggestion of reversed tracks with subtle starts and abrupt stops of notes. It's a nice space, a kaleidoscope of sounds that envelops the listener quite effectively. I like it.
"P.S. I love you" begins with a warm drone, little bits and pieces of sound playing along with it. As the sound builds, details become more clear, wavering and flowing throughout to provide focus for the listener. There's a warmth being presented, a loving embrace for the listener.
"Quiero ser Santa" opens with the sound of the sea and an echoing drone. There's a feeling of bending metal here, a quiet sound, all combining to create a very delicate track that entrances and hypnotizes.
"Wash their Souls" is another nice piece, a subtle drone melody in the forefront, with quiet seasoning in the background. There's a haunting sound to the piece, the feeling of walking down an underground tunnel late at night, the occasional clang or drip adding to the atmosphere. Given the title, I can't help but think this one is the soundtrack to a slow drip purge of sins, the error of one's ways slowly sweating out of the body.
"za chvilu je koniec dna" is an interesting piece that begins with a slightly buzzing drone underneath a field recording of a crowd. Eventually the crowd disperses to be replaced by a subtly ebbing drone where melody can just be imagined right on the edge of the soundfield. A repeated arpegio drifts in, adding a certain light and order to the track.
"Heartland" closes the disc, a slightly more defined track than previous pieces, where the music seems to be more clearly presented and distinct in the soundfield. Drawing from sound sources heard in earlier tracks, "Heartland" acts as a nice sampler for the disc, a wonderful summation of what's happened earlier and moving the music forward. Simple melodies, light drones, subtle guitar echoes, crowds, it's all here, blended together in a beautiful way.
Needless to say, "Luvyoo" is a rich and fascinating release that demonstrates an impressive understanding of musical forms and shapes. Over the course of its length, Mat'ko has done an admirable job of engaging and inspiring the listener, and if this disc is any indication of his earlier work, I will definitely make the effort to hear more!
rik - ping things
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"Air Machine" by Frank Van Bogaert with Erik Wollo
"Air Machine" by Frank Van Bogaert and Erik Wollo is an excellent album that addresses environmental collapse through ten songs that follow a society on the brink of ruin as a result of failing technology. Using this concept as a basis around which the songs are built, "Air Machine" is an impressive release that simultaneously provokes thought in the listener, while also displaying the distinct talents of both Van Bogaert and Wollo.
The first track, "Dead Planet", is surely that, a windy and barren soundscape that brings to mind the sound of deserts and abandoned cities. Out of the emptiness there's a slight sense of melody that quickly builds into a majestic theme of sorts, crisp synths paired with choral voices to create a lush swelling opus. It's all very dramatic, and very effective at setting the tone for the rest of the album.
"Air Machine" is up next, offering a sense of hope and possibility, a crisp and clear piano line bringing to mind the chance of relief and natural elements. There's a theatrical feel to the proceedings, with dramatic Gilmour-esque guitar from Wollo playing throughout the latter half of the track, bringing to mind a certain Pink Floyd quality that I really enjoy.
"Insomnia" opens with a light drone paired with brushed high hats, a more subtle atmospheric track that gradually opens up with the addition of a slowly developing synth melody. The track is aptly named, nicely capturing the sound of late nights spent sleepless with worry and angst. Minor melodies play at the edge of the soundfield, like fleeting thoughts that pass through one's head too quickly to focus on. As the track continues it becomes more focused, more defined, but still retaining that otherworldly quality that only happens on the edges of sleep. Very nicely done.
"Hyperventilate" features a lovely choral swell that's nicely mirrored by a piano melody, a pumping synthline pushing the track along. Wollo's guitar plays a beautiful accompaniment here, a driving rock drum adding colour and flavor. Another really nicely executed dramatic moment.
"All Has Stopped" is a mournful track with minimal instrumentation where a longing synthline and some beautiful guitar work blend together to create a haunting and lamenting piece of music. Perhaps my favorite track on the release, its a delicate piece that brings to mind cloudless blue skies as far as the eyes can see.
"Breathe" opens with a sequenced synthline and building percussion. It has a nice flow, a well-executed swell. Vocals come in, accompanied by a heavier drum line and plucked melodic guitar that echoes an earlier theme from the disc. Repeating the line "Let us Breathe..." like a mantra, Van Bogaert's vocals offer a calming focus for the listener amidst an avalanche of percussion, eventually giving way to a lovely acoustic guitar closing.
"Cold Steel" pairs a steady drone with a pulsing synthline that rotates through the soundfield. A short arpeggio rises and falls through the track, and a high pitched synth plays a slight melody. Despite its name, there's a real warmth to this track, a feeling of being enveloped in sound and music, surrounded by tones that dance around you. Beautiful.
There's a really nice abstract quality to the opening of "The Thin Line", a dark environment created through unusual tones all layered together to make a steaming underworld of sound. Soon the track gives way to more traditional melodic elements, heavy percussion and repeated synth themes, all combining to shape a heavy, beaty track, and a particularly thick sound to be named "Thin"...
"Marbles (Memories of Childhood)" cleverly applies reversed tracks to the sound of bouncing balls and a slowly rotating synthline, evoking a sense of peace and nostalgia. A short but effective track that leads into the disc's closer, "Memories of Waves", which pairs the sound of waves underneath a dramatic piano melody that swells and falls like the tide. There's some beautiful playing here, and I commend Van Bogaert for his talent on the keys.
On "Air Machine", Van Bogaert and Wollo have done a wonderful job of telling a story with broad strokes, leaving the listener to fill in the blanks and allowing them to share in the creation of scenarios and outcomes. And that's not always the easiest thing to do when faced with the idea of a concept album. "Air Machine" succeeds in ways that many similar efforts have failed, by leading the listener to a point and allowing them to continue on their own. Kudos to Van Bogaert and Wollo for addressing significant issues through a creative medium.
rik - ping things
"Air Machine" by Frank Van Bogaert with Erik Wollo is available now through ping things!
Keep up to date with ping things through
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The first track, "Dead Planet", is surely that, a windy and barren soundscape that brings to mind the sound of deserts and abandoned cities. Out of the emptiness there's a slight sense of melody that quickly builds into a majestic theme of sorts, crisp synths paired with choral voices to create a lush swelling opus. It's all very dramatic, and very effective at setting the tone for the rest of the album.
"Air Machine" is up next, offering a sense of hope and possibility, a crisp and clear piano line bringing to mind the chance of relief and natural elements. There's a theatrical feel to the proceedings, with dramatic Gilmour-esque guitar from Wollo playing throughout the latter half of the track, bringing to mind a certain Pink Floyd quality that I really enjoy.
"Insomnia" opens with a light drone paired with brushed high hats, a more subtle atmospheric track that gradually opens up with the addition of a slowly developing synth melody. The track is aptly named, nicely capturing the sound of late nights spent sleepless with worry and angst. Minor melodies play at the edge of the soundfield, like fleeting thoughts that pass through one's head too quickly to focus on. As the track continues it becomes more focused, more defined, but still retaining that otherworldly quality that only happens on the edges of sleep. Very nicely done.
"Hyperventilate" features a lovely choral swell that's nicely mirrored by a piano melody, a pumping synthline pushing the track along. Wollo's guitar plays a beautiful accompaniment here, a driving rock drum adding colour and flavor. Another really nicely executed dramatic moment.
"All Has Stopped" is a mournful track with minimal instrumentation where a longing synthline and some beautiful guitar work blend together to create a haunting and lamenting piece of music. Perhaps my favorite track on the release, its a delicate piece that brings to mind cloudless blue skies as far as the eyes can see.
"Breathe" opens with a sequenced synthline and building percussion. It has a nice flow, a well-executed swell. Vocals come in, accompanied by a heavier drum line and plucked melodic guitar that echoes an earlier theme from the disc. Repeating the line "Let us Breathe..." like a mantra, Van Bogaert's vocals offer a calming focus for the listener amidst an avalanche of percussion, eventually giving way to a lovely acoustic guitar closing.
"Cold Steel" pairs a steady drone with a pulsing synthline that rotates through the soundfield. A short arpeggio rises and falls through the track, and a high pitched synth plays a slight melody. Despite its name, there's a real warmth to this track, a feeling of being enveloped in sound and music, surrounded by tones that dance around you. Beautiful.
There's a really nice abstract quality to the opening of "The Thin Line", a dark environment created through unusual tones all layered together to make a steaming underworld of sound. Soon the track gives way to more traditional melodic elements, heavy percussion and repeated synth themes, all combining to shape a heavy, beaty track, and a particularly thick sound to be named "Thin"...
"Marbles (Memories of Childhood)" cleverly applies reversed tracks to the sound of bouncing balls and a slowly rotating synthline, evoking a sense of peace and nostalgia. A short but effective track that leads into the disc's closer, "Memories of Waves", which pairs the sound of waves underneath a dramatic piano melody that swells and falls like the tide. There's some beautiful playing here, and I commend Van Bogaert for his talent on the keys.
On "Air Machine", Van Bogaert and Wollo have done a wonderful job of telling a story with broad strokes, leaving the listener to fill in the blanks and allowing them to share in the creation of scenarios and outcomes. And that's not always the easiest thing to do when faced with the idea of a concept album. "Air Machine" succeeds in ways that many similar efforts have failed, by leading the listener to a point and allowing them to continue on their own. Kudos to Van Bogaert and Wollo for addressing significant issues through a creative medium.
rik - ping things
"Air Machine" by Frank Van Bogaert with Erik Wollo is available now through ping things!
Keep up to date with ping things through
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Saturday, October 31, 2009
Download "Swimming Alone" by Lorne David Thomson
Download "Swimming Alone" by Lorne David Thomson for free from ping things!
"Swimming Alone" by Lorne David Thomson is the November release from the ping things net label. Offering eleven songs in a variety of sounds and styles, "Swimming Alone" features rich soundscapes, deep melodic electronica, vintage synth tracks and more, all showcasing the extensive talents of Lorne David Thomson. "Swimming Alone" is an engaging and inspired collection of music available exclusively from ping things!
"Swimming Alone" is available for free download as an 113Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright Lorne David Thomson 2009 and may not be used or reproduced without the artist's express permission.
"Swimming Alone" is the latest release from the ping things net label. New releases will be added to the site on the 1st of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com
Review this release on Earlabs
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Thursday, October 22, 2009
"Inner Gesture" by Peter DiPhillips
"Inner Gesture" by Peter DiPhillips is a collection of four loop-based songs blended together in a long form mix that addresses a wide range of styles and moods. Moving from modern cityscape soundtracks through abstract tonal funhouses to panoramic musical vistas, "Inner Gesture" creates a virtual travelogue for the listener, a trip through a new sonic landscapes.
"Meditation To" opens the disc, a pulse-driven track where a steady beat is created through a thick bassline. Chimes and synths add colour to the track and lightly brushed percussion play throughout providing a sense of movement and travel. It's a very urban sound, a track that brings to mind late nights while the city sleeps, the sounds of back alley lounges and rainy side-streets.
"Meditation Won" segues in from the last track with some of the same tones and melodies blending in with a new tonal palette that ultimately takes the sound in new directions and spaces. The track bounces through a variety of tones, shifting abruptly in points and turning in on itself at times, almost like a Moebius loop. It's a bit of a challenging listen, but an ultimately rewarding one.
"New Image" mixes seemlessly with the last track, a long form piece where slow synth pads drift through the soundfield punctuated by irregular sonic extras that rise and fall. Shakers, saw lines, a short drone, others, all tastefully chosen and carefully placed sounds that add character to the track. There's a definite feeling of space in the track, not so much cosmic as expansive, the feeling of a wide open environment where distances meet the sky. A really nice piece of music.
"Slow Rays" follows without pause, a dense mixture of tones that blend together nicely. Melodic lines and tones bubble up through the soundfield, creating an ever shifting kaleidescope of sound. It's difficult to pick an anchor out of the proceedings, but it all works well together.
I always enjoy finding new artists and I'm quite pleased with the discovery of Peter DiPhillips. His work has an engaging approach to song forms and displays a clever sense of humour that runs throughout. I like this disc and I look forward to seeing what DiPhillips comes up with next.
rik - ping things
"Inner Gesture" by Peter DiPhillips is available now at ping things!
Keep up to date with ping things through
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"Meditation To" opens the disc, a pulse-driven track where a steady beat is created through a thick bassline. Chimes and synths add colour to the track and lightly brushed percussion play throughout providing a sense of movement and travel. It's a very urban sound, a track that brings to mind late nights while the city sleeps, the sounds of back alley lounges and rainy side-streets.
"Meditation Won" segues in from the last track with some of the same tones and melodies blending in with a new tonal palette that ultimately takes the sound in new directions and spaces. The track bounces through a variety of tones, shifting abruptly in points and turning in on itself at times, almost like a Moebius loop. It's a bit of a challenging listen, but an ultimately rewarding one.
"New Image" mixes seemlessly with the last track, a long form piece where slow synth pads drift through the soundfield punctuated by irregular sonic extras that rise and fall. Shakers, saw lines, a short drone, others, all tastefully chosen and carefully placed sounds that add character to the track. There's a definite feeling of space in the track, not so much cosmic as expansive, the feeling of a wide open environment where distances meet the sky. A really nice piece of music.
"Slow Rays" follows without pause, a dense mixture of tones that blend together nicely. Melodic lines and tones bubble up through the soundfield, creating an ever shifting kaleidescope of sound. It's difficult to pick an anchor out of the proceedings, but it all works well together.
I always enjoy finding new artists and I'm quite pleased with the discovery of Peter DiPhillips. His work has an engaging approach to song forms and displays a clever sense of humour that runs throughout. I like this disc and I look forward to seeing what DiPhillips comes up with next.
rik - ping things
"Inner Gesture" by Peter DiPhillips is available now at ping things!
Keep up to date with ping things through
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Tuesday, October 20, 2009
"Filaments" by Description Without Place
Over the last few years, Anthony Paul Kerby has released a number of discs as The Circular Ruins, Lammergeyer and Nunc Stans. His work has always been of the highest quality and now with the release of "Filaments" by Description Without Place, fans are treated not only to new work from Kerby, but also the opportunity to hear his work in collaboration with another very talented performer, James McDougall of Entia Non. Bringing together sonic elements from each of these impressive artists, "Filaments" is a wonderful release that engages and captures the imagination, taking the listener on a journey to new and undiscovered spaces.
Beginning with "The Gold Tree is Blue", Kerby and McDougall set the tone for the release with a thick drone based form that fills the soundfield. Musical phrases drift through the piece adding to the depth of the track and suggesting movement through a wider plane to the listener. The track continues to grow in this style, building to a climax until suddenly the sound is gone, leaving the listener in a sparse and barren wasteland. Track two, "Physical World", rises up through the emptiness, a fluid tone bubbling underneath a distant drone. Other alien tones flow through the track, gaining in volume and clarity as time passes, slowly taking shape and becoming more distinct and visible. The end result is a beautiful minimal environment where tones are heard just on the periphery of the soundscape, a very delicate space just at the edge of the senses. Very nice.
"Nostalgia" builds from more abstract sounds, irregular percussion elements, static, field recordings, more. It's an unusual collection of tones but a very engaging one, and as it continues one can't help but become curious as to what will happen as it plays out, where the track will go over the course of its length. Voices and distant strings add to the proceedings, all combining to create a beautiful and haunting track.
"Cloister" opens with subtle morse code and a quiet drone. As the track continues more sounds are added, slowly rising from silence to become more distinct, but always retaining an air of mystery. Alien noises just on the periphery of identification play out, adding to the atmosphere, deepening the soundscape. A particularly strong track.
"Sunday Morning" has a melodicism about it, a quiet synth line that plays up and down the soundfield in a melancholy manner, paired with field recordings and other sounds that add to the space. It's a lovely blend of styles, an organic musicality paired with an atmospheric ambience to create a melancholy and mournful mixture that appeals despite it's darkness.
"Periphery" is a very short track, not even two minutes long. It creates a space, a quick glance at an environment where the space exists only for an instant. Nice work, but a track I would have liked to explore a little further.
"She Conceals Herself" closes the disc, a rainy seaside atmosphere for the listener to explore while a quiet melody plays in the background underneath everything else. It's an engaging piece, an interestingly abstract piece that leaves this listener quite satisfied.
It sometimes seems to me that living in the twenty-first century can be a neverending series of distractions and challenges, so I welcome music that can take me away for a little while, music that can bring a little order to all the chaos and activity that permeates our day to day lives. "Filaments" is a set of music that can do that for me, an excellent disc that inspires those kind of mid-day reveries that only the best music can bring. For the course of its length I can let the world slip by for a while and just enjoy a new space, a new world. My thanks to Kerby and McDougall for sharing this new world with us.
rik - ping things
"Filaments" by Description Without Place is available now at ping things!
Keep up to date with ping things through
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Beginning with "The Gold Tree is Blue", Kerby and McDougall set the tone for the release with a thick drone based form that fills the soundfield. Musical phrases drift through the piece adding to the depth of the track and suggesting movement through a wider plane to the listener. The track continues to grow in this style, building to a climax until suddenly the sound is gone, leaving the listener in a sparse and barren wasteland. Track two, "Physical World", rises up through the emptiness, a fluid tone bubbling underneath a distant drone. Other alien tones flow through the track, gaining in volume and clarity as time passes, slowly taking shape and becoming more distinct and visible. The end result is a beautiful minimal environment where tones are heard just on the periphery of the soundscape, a very delicate space just at the edge of the senses. Very nice.
"Nostalgia" builds from more abstract sounds, irregular percussion elements, static, field recordings, more. It's an unusual collection of tones but a very engaging one, and as it continues one can't help but become curious as to what will happen as it plays out, where the track will go over the course of its length. Voices and distant strings add to the proceedings, all combining to create a beautiful and haunting track.
"Cloister" opens with subtle morse code and a quiet drone. As the track continues more sounds are added, slowly rising from silence to become more distinct, but always retaining an air of mystery. Alien noises just on the periphery of identification play out, adding to the atmosphere, deepening the soundscape. A particularly strong track.
"Sunday Morning" has a melodicism about it, a quiet synth line that plays up and down the soundfield in a melancholy manner, paired with field recordings and other sounds that add to the space. It's a lovely blend of styles, an organic musicality paired with an atmospheric ambience to create a melancholy and mournful mixture that appeals despite it's darkness.
"Periphery" is a very short track, not even two minutes long. It creates a space, a quick glance at an environment where the space exists only for an instant. Nice work, but a track I would have liked to explore a little further.
"She Conceals Herself" closes the disc, a rainy seaside atmosphere for the listener to explore while a quiet melody plays in the background underneath everything else. It's an engaging piece, an interestingly abstract piece that leaves this listener quite satisfied.
It sometimes seems to me that living in the twenty-first century can be a neverending series of distractions and challenges, so I welcome music that can take me away for a little while, music that can bring a little order to all the chaos and activity that permeates our day to day lives. "Filaments" is a set of music that can do that for me, an excellent disc that inspires those kind of mid-day reveries that only the best music can bring. For the course of its length I can let the world slip by for a while and just enjoy a new space, a new world. My thanks to Kerby and McDougall for sharing this new world with us.
rik - ping things
"Filaments" by Description Without Place is available now at ping things!
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Thursday, October 15, 2009
"Archive Two" by Anomalous Disturbances
It's been five years since the last release from Terry O'Brien's Anomalous Disturbances project, but it's clear from the volume of material on the double disc "Archive Two" that Terry has been very busy making music. Collecting rare tracks and unreleased work recorded over the last few years, "Archive Two" is a wonderful set of music that nicely illustrates the musical essence of Anomalous Disturbances.
"Portent (v.2 Omen Mix)" opens disc one, an epic track clocking in at over 17minutes that appeared in it's original form as part of the "Music for Seances" series from Sound-o-Mat Recordings. Needless to say it's a haunting piece of music where languid guitar tones stretch and sweep across the track sharing the soundscape with subtle textures and micro-melodies. A very nice piece of music that stands among Terry's best.
"The Secret Adam" follows, a deep drone-y tone playing along with a slight melodic backdrop. The occasional chime sparkles through the mix, but overall the proceedings are quiet and low, a gentle ebb and flow that brings to mind waves and the ocean. It's a hypnotic piece, one with a certain intimacy about it that captures the imagination of the listener. My only regret is that at twelve minutes it's still too short for my tastes, as I'd like to hear this track evolve and expand
across an hour at least!
I have no idea what "Quickenberries" are, but I would imagine that they have some otherworldly charms about them. This drone-based track seems to move through the stars with a steady pulse and occasional space-y flourishes. It's a fine creation of space music textures, and an excellent example of effectively bridging two styles of work. Very nicely done!
"Noodles" is a previously unreleased track where a minimal melody rises and falls, a slow pulse around which other sounds and tones gather. It's a very nice minimal piece, a really nicely constructed soundscape using only a few elements. As the track progresses a ringing drone shifts the focus of the track, taking the piece in new directions but never straying too far from the space that's been created, always circling back to its initial starting point.
"Everybody's Talkin' v.2" is another track that carries on in a haunting vein, processed vocal samples echoing through some space-y drawn out synth work. It stands as the shortest track on the disc, but don't think for a minute that it's lacking in it's creation of an unsettling and vaguely uncomfortable environment. A testimony to Terry's ability that he can so effectively create a living and breathing space in such little time.
"Daydream #3" is a new recording built around a seed loop from 2003 finally developing into a full fledged song in 2009. It's an interesting piece, another long track of 18 plus minutes that manages to maintain the listeners interest throughout its length. Drones rise and fall, creating an oblique background of sorts while tones drift past in a seemingly random pattern. The sense of movement and travel is very strong in this track, a feeling of slowly floating through space and time. Close your eyes and I expect you'll be carried away the same way I was...
Disc Two begins with "Sedna", another previously unreleased track that starts with an almost inaudible tone that builds in volume and strength over the course of the track's first minute. Throughout the length of the track the sound unfolds and expands, allowing the listener to explore the soundfield as it progresses, each area filled with nuance and wonder to discover.
"Low Pulse" lives up to it's name, a steady pulsing drone providing a framework around which other tracks rise and fall, bend and contract, echo and fade. It's an interesting track where a variety of sonic techniques are all applied in a tasteful and well executed fashion suggesting form and purpose rather than haphazard discovery. Well done.
The third track from disc two, "Mysterium Tremendum #23" opens with dark and unsettling guitar, weaving in and about itself and sweeping across the soundfield. As the track progresses, the sound thickens and becomes more dense, occasionally punctuated by aquatic gurgling that brings to mind submarines and underwater exploration. It's not really clear what sort of space is created here, but in ways I enjoy the track even more for that. A tremendous mystery to say the least...
"Live at SOMA Cafe Pt.2" opens with a slight melody that relies on silence as much as it does musical notes, creating both positive and negative spaces for the listener to engage with. Tones pass through the soundfield and disappear, some returning, some never to be heard again, and it all brings to mind the fleeting nature of all of life's moments. Perhaps I'm reading too much into it, but I'm reminded how important it is to enjoy everything as it happens, because you might not have the chance to do so tomorrow...
"Segue to Heaven" is a slow drift of a song, sleepy and lazy and very, very, very relaxed. I'm hard-pressed to say anything else about it, except to say that it's quite beautiful and I enjoy it very much.
Disc two closes with "Space Elevator Music", another drifting piece, but this time with a bit more direction, a purpose and idea behind the movement that keeps the track headed in a particular way. I can't say for sure if it's into outer space, more likely I think it's inner space. An internal journey of discovery to end all of the traveling we've done over the course of the last two discs. And really, is there any better way to end this compilation? I can't really think of one.
It takes a lot to sustain one's interest over the course of a two and a half hour double disc, but "Archive Two" succeeds in presenting a series of engaging and involving tracks. There's some fine music on this collection that really resonates with me, and I whole-heartedly recommend it as an excellent release. Whether
you're a fan of Terry's work and would like to hear more of it, or if you're just looking for something new to check out, "Archive Two" is definitely a disc that you should make a point of investigating further.
rik - ping things
"Archive Two" by Anomalous Disturbances is available now at ping things!
Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
"Portent (v.2 Omen Mix)" opens disc one, an epic track clocking in at over 17minutes that appeared in it's original form as part of the "Music for Seances" series from Sound-o-Mat Recordings. Needless to say it's a haunting piece of music where languid guitar tones stretch and sweep across the track sharing the soundscape with subtle textures and micro-melodies. A very nice piece of music that stands among Terry's best.
"The Secret Adam" follows, a deep drone-y tone playing along with a slight melodic backdrop. The occasional chime sparkles through the mix, but overall the proceedings are quiet and low, a gentle ebb and flow that brings to mind waves and the ocean. It's a hypnotic piece, one with a certain intimacy about it that captures the imagination of the listener. My only regret is that at twelve minutes it's still too short for my tastes, as I'd like to hear this track evolve and expand
across an hour at least!
I have no idea what "Quickenberries" are, but I would imagine that they have some otherworldly charms about them. This drone-based track seems to move through the stars with a steady pulse and occasional space-y flourishes. It's a fine creation of space music textures, and an excellent example of effectively bridging two styles of work. Very nicely done!
"Noodles" is a previously unreleased track where a minimal melody rises and falls, a slow pulse around which other sounds and tones gather. It's a very nice minimal piece, a really nicely constructed soundscape using only a few elements. As the track progresses a ringing drone shifts the focus of the track, taking the piece in new directions but never straying too far from the space that's been created, always circling back to its initial starting point.
"Everybody's Talkin' v.2" is another track that carries on in a haunting vein, processed vocal samples echoing through some space-y drawn out synth work. It stands as the shortest track on the disc, but don't think for a minute that it's lacking in it's creation of an unsettling and vaguely uncomfortable environment. A testimony to Terry's ability that he can so effectively create a living and breathing space in such little time.
"Daydream #3" is a new recording built around a seed loop from 2003 finally developing into a full fledged song in 2009. It's an interesting piece, another long track of 18 plus minutes that manages to maintain the listeners interest throughout its length. Drones rise and fall, creating an oblique background of sorts while tones drift past in a seemingly random pattern. The sense of movement and travel is very strong in this track, a feeling of slowly floating through space and time. Close your eyes and I expect you'll be carried away the same way I was...
Disc Two begins with "Sedna", another previously unreleased track that starts with an almost inaudible tone that builds in volume and strength over the course of the track's first minute. Throughout the length of the track the sound unfolds and expands, allowing the listener to explore the soundfield as it progresses, each area filled with nuance and wonder to discover.
"Low Pulse" lives up to it's name, a steady pulsing drone providing a framework around which other tracks rise and fall, bend and contract, echo and fade. It's an interesting track where a variety of sonic techniques are all applied in a tasteful and well executed fashion suggesting form and purpose rather than haphazard discovery. Well done.
The third track from disc two, "Mysterium Tremendum #23" opens with dark and unsettling guitar, weaving in and about itself and sweeping across the soundfield. As the track progresses, the sound thickens and becomes more dense, occasionally punctuated by aquatic gurgling that brings to mind submarines and underwater exploration. It's not really clear what sort of space is created here, but in ways I enjoy the track even more for that. A tremendous mystery to say the least...
"Live at SOMA Cafe Pt.2" opens with a slight melody that relies on silence as much as it does musical notes, creating both positive and negative spaces for the listener to engage with. Tones pass through the soundfield and disappear, some returning, some never to be heard again, and it all brings to mind the fleeting nature of all of life's moments. Perhaps I'm reading too much into it, but I'm reminded how important it is to enjoy everything as it happens, because you might not have the chance to do so tomorrow...
"Segue to Heaven" is a slow drift of a song, sleepy and lazy and very, very, very relaxed. I'm hard-pressed to say anything else about it, except to say that it's quite beautiful and I enjoy it very much.
Disc two closes with "Space Elevator Music", another drifting piece, but this time with a bit more direction, a purpose and idea behind the movement that keeps the track headed in a particular way. I can't say for sure if it's into outer space, more likely I think it's inner space. An internal journey of discovery to end all of the traveling we've done over the course of the last two discs. And really, is there any better way to end this compilation? I can't really think of one.
It takes a lot to sustain one's interest over the course of a two and a half hour double disc, but "Archive Two" succeeds in presenting a series of engaging and involving tracks. There's some fine music on this collection that really resonates with me, and I whole-heartedly recommend it as an excellent release. Whether
you're a fan of Terry's work and would like to hear more of it, or if you're just looking for something new to check out, "Archive Two" is definitely a disc that you should make a point of investigating further.
rik - ping things
"Archive Two" by Anomalous Disturbances is available now at ping things!
Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
Wednesday, October 14, 2009
"Inside" by Anomalous Disturbances
For his latest release as Anomalous Disturbances, "Inside", Terry O'Brien has added some additional musicians to the mix. Joined by brothers Chris and Wayne O'Brien, "Inside" finds Anomalous Disturbances expanding its sound and exploring new aural environments. Recorded sporadically between 2003 and 2008, "Inside" is a travelogue of new spaces and locations, all beautifully constructed and defined through a rich palette of sounds created by the trio.
"Inside I" begins with some sustained guitar drifting across the soundscape, very nicely ebow-ed to create a wide space for the listener to stretch out in. As the track progresses some subtle percussion begins, adding a feeling of ritual and mysticism to the proceedings.It's a really beautiful track that results, a dense and beautiful soundscape created with only a few very effective elements. Needless to say, it's a lovely way to start the disc.
"Inside II" has a melancholy feeling about it, a haunted guitar accompanying a lonely flute creating a grey and desolate space that conjures up some very vivid imagery. Light hand percussion is introduced into the mix, bringing an order and brightness to the track. Soon some light chimes can be heard, adding colour and warmth and shifting the mood to a completely new space. Cool stuff.
"Inside III" has a pulsing beat to it, a vaguely militaristic sound that's paired with some deep percussion and processed voices. Dark guitar notes weave through the proceedings and you can't help but get wrapped up in a feeling of tension, an unsettling vibe that permeates the track. It's a theatrical piece, something that would fit well in a movie, adding an extra darkness to the images.
"Inside IV" finds the listener in a completely different space, a new groove-based environment where percussion and pulse propel the track along through alien landscapes. It's a much brighter track than the three previous, but it maintains a certain minor key vibe that's in keeping with everything else on the disc. Melodic flourishes add colour to the track, and before you know it you're in a shifting kaleidoscope of sound.
"Inside V" brings it down a notch, returning to a darker and more tranquil sound using a limited sound palette of guitar and processed flute alongside some interesting atmospheric touches. It's a quiet and introspective piece, a nice space to explore.
"Inside VI" presents the listener with a distorted ringing amidst a strange vortex. Tones slide through the soundfield, irregular and without form, creating an ominous and rather unsettling space for listening. It's a dense space for the listener, and with every listen something new is revealed. Very nicely done.
"Inside VII" begins with a series of slow sweeping guitar pads playing across the soundfield, steady and strong tones that easily hold one's attention. As the track continues, sounds open up and widen, aided by the addition of some subtle atmospheric textures and tones, nothing too heavy to overwhelm the track, just enough to add to the mood.
The disc closes with "Inside VIII", a spiraling guitarline-driven tribal percussive processed vocal track that resonates with the listener long after the last note has faded. It has a particular drama, a particular theatrical quality that works really well, and it's a lovely way to end the disc.
Without doubt, "Inside" is an album that long-time fans of Anomalous Disturbances and relative newcomers alike will really enjoy. It celebrates the sound that has become associated with O'Brien's work, and builds on it creating a whole new feeling and vibe. I hope that future releases by Anomalous Disturbances will feature work from this trio, and I look forward to the musical journeys that lay ahead.
rik - ping things
"Inside" by Anomalous Disturbances is now available at ping things!
Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
"Inside I" begins with some sustained guitar drifting across the soundscape, very nicely ebow-ed to create a wide space for the listener to stretch out in. As the track progresses some subtle percussion begins, adding a feeling of ritual and mysticism to the proceedings.It's a really beautiful track that results, a dense and beautiful soundscape created with only a few very effective elements. Needless to say, it's a lovely way to start the disc.
"Inside II" has a melancholy feeling about it, a haunted guitar accompanying a lonely flute creating a grey and desolate space that conjures up some very vivid imagery. Light hand percussion is introduced into the mix, bringing an order and brightness to the track. Soon some light chimes can be heard, adding colour and warmth and shifting the mood to a completely new space. Cool stuff.
"Inside III" has a pulsing beat to it, a vaguely militaristic sound that's paired with some deep percussion and processed voices. Dark guitar notes weave through the proceedings and you can't help but get wrapped up in a feeling of tension, an unsettling vibe that permeates the track. It's a theatrical piece, something that would fit well in a movie, adding an extra darkness to the images.
"Inside IV" finds the listener in a completely different space, a new groove-based environment where percussion and pulse propel the track along through alien landscapes. It's a much brighter track than the three previous, but it maintains a certain minor key vibe that's in keeping with everything else on the disc. Melodic flourishes add colour to the track, and before you know it you're in a shifting kaleidoscope of sound.
"Inside V" brings it down a notch, returning to a darker and more tranquil sound using a limited sound palette of guitar and processed flute alongside some interesting atmospheric touches. It's a quiet and introspective piece, a nice space to explore.
"Inside VI" presents the listener with a distorted ringing amidst a strange vortex. Tones slide through the soundfield, irregular and without form, creating an ominous and rather unsettling space for listening. It's a dense space for the listener, and with every listen something new is revealed. Very nicely done.
"Inside VII" begins with a series of slow sweeping guitar pads playing across the soundfield, steady and strong tones that easily hold one's attention. As the track continues, sounds open up and widen, aided by the addition of some subtle atmospheric textures and tones, nothing too heavy to overwhelm the track, just enough to add to the mood.
The disc closes with "Inside VIII", a spiraling guitarline-driven tribal percussive processed vocal track that resonates with the listener long after the last note has faded. It has a particular drama, a particular theatrical quality that works really well, and it's a lovely way to end the disc.
Without doubt, "Inside" is an album that long-time fans of Anomalous Disturbances and relative newcomers alike will really enjoy. It celebrates the sound that has become associated with O'Brien's work, and builds on it creating a whole new feeling and vibe. I hope that future releases by Anomalous Disturbances will feature work from this trio, and I look forward to the musical journeys that lay ahead.
rik - ping things
"Inside" by Anomalous Disturbances is now available at ping things!
Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
Monday, October 12, 2009
"The Palm at the End of the Mind" by Nunc Stans
Anthony Paul Kerby has released a number of fabulous albums in a variety of guises and identities, each one capturing a particular sound and style that engages and intrigues. "The Palm at the End of the Mind" by Nunc Stans is a particularly fine example of Kerby's work, a seven track disc where the songs are influenced by the isolation of Northern environments, music to conjure images of unique landscapes that are equal parts beautiful and mysterious. Kerby has a reputation for being particularly skilled in his ability to paint aural landscapes and with "The Palm at the End of the Mind" he proves once again that his reputation is well deserved.
"The Palm at the End of the Mind" opens the disc, an epic 30 minute track with a spiraling drone underneath a thin synth line. As the track continues tones well up in the soundfield creating a wider space, a more distinct location. A second movement featuring a fuzzy wave of distortion is paired with a soaring synth line that loops around the track. A third movement adds electronic percussion playing over a looping segment of noise from the last segment, gradually growing in volume to ultimately become a gristly drone segment. I'm afraid my descriptions don't do it justice, but trust me when I say that it's an impressive and appealing piece of music.
"Casual Solitudes" opens in a dark windy place, the sound of whistling caverns and ice floes. It's a dark and rather solemn environment, a quiet piece where there is little hope and possibility. As the track progresses there is a shift in style and sound and soon things become a little brighter, a little more hopeful as if to suggest there is a light at the end of the tunnel and possibilities beyond that which have been previously imagined. Yet despite this new found possibility, there is still an element of mournfulness to the track that creates a nice contrast in ideas.
Track three, "Ice Caverns", starts in a different headspace with a feeling of warmth about it, of falling drops of cold dark rain in a rainforest. The occasional sound is heard echoing in the soundfield, something farther along in the space created in the track, but it's all very minimal, very simple. A nice aural head cleaner, something to bring us around to a new mindset while listening.
"Spring Thaw" is a short piece, just a little shy of two minutes, but Kerby does an excellent job of creating a space and environment. A shifting drone slides through the track, bending and processing in a variety of different ways as the track continues. An interesting transitional piece moving us from one location to the next.
"The Imperfect is Our Paradise" is another shorter piece that has an almost sacred feel to it. Deep low tones create a dark and haunting backdrop. It's a mournful and dark piece, something that suggests an end to all things, a final place to rest.
"Gaspe Passage" returns us to more comfortable locales with a stronger sense of hope and possibility. String-like tones shape a melody, weaving and intertwining around eachother to create a dense bed track around which everything else builds and forms. There's a feeling of possibility here, the feeling that things have changed for the better. An optimistic and beautiful track.
The last track on the disc, "The Sleepers in Their Sleep Shall Move", begins as a minimal drone-based piece where sounds ring and drift through a wash of drones. There's a feeling of suspense here, a feeling of drama that really appeals and remains unresolved until the halfway mark where an organ/piano combination bring a certain resolution and closure to both the work and the disc as a whole. A nice way to end things...
As with all of Kerby's releases as Nunc Stans, "The Palm at the End of the Mind" does a wonderful job of capturing the feeling of new spaces, places conjured through the expressiveness of the music. Kerby has once again shown that he has an unparalleled ability to create sonic environments, and it should come as no surprise that I highly recommend this disc.
rik - ping things
Keep up to date with ping things through
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and the ping things ning group!
"The Palm at the End of the Mind" opens the disc, an epic 30 minute track with a spiraling drone underneath a thin synth line. As the track continues tones well up in the soundfield creating a wider space, a more distinct location. A second movement featuring a fuzzy wave of distortion is paired with a soaring synth line that loops around the track. A third movement adds electronic percussion playing over a looping segment of noise from the last segment, gradually growing in volume to ultimately become a gristly drone segment. I'm afraid my descriptions don't do it justice, but trust me when I say that it's an impressive and appealing piece of music.
"Casual Solitudes" opens in a dark windy place, the sound of whistling caverns and ice floes. It's a dark and rather solemn environment, a quiet piece where there is little hope and possibility. As the track progresses there is a shift in style and sound and soon things become a little brighter, a little more hopeful as if to suggest there is a light at the end of the tunnel and possibilities beyond that which have been previously imagined. Yet despite this new found possibility, there is still an element of mournfulness to the track that creates a nice contrast in ideas.
Track three, "Ice Caverns", starts in a different headspace with a feeling of warmth about it, of falling drops of cold dark rain in a rainforest. The occasional sound is heard echoing in the soundfield, something farther along in the space created in the track, but it's all very minimal, very simple. A nice aural head cleaner, something to bring us around to a new mindset while listening.
"Spring Thaw" is a short piece, just a little shy of two minutes, but Kerby does an excellent job of creating a space and environment. A shifting drone slides through the track, bending and processing in a variety of different ways as the track continues. An interesting transitional piece moving us from one location to the next.
"The Imperfect is Our Paradise" is another shorter piece that has an almost sacred feel to it. Deep low tones create a dark and haunting backdrop. It's a mournful and dark piece, something that suggests an end to all things, a final place to rest.
"Gaspe Passage" returns us to more comfortable locales with a stronger sense of hope and possibility. String-like tones shape a melody, weaving and intertwining around eachother to create a dense bed track around which everything else builds and forms. There's a feeling of possibility here, the feeling that things have changed for the better. An optimistic and beautiful track.
The last track on the disc, "The Sleepers in Their Sleep Shall Move", begins as a minimal drone-based piece where sounds ring and drift through a wash of drones. There's a feeling of suspense here, a feeling of drama that really appeals and remains unresolved until the halfway mark where an organ/piano combination bring a certain resolution and closure to both the work and the disc as a whole. A nice way to end things...
As with all of Kerby's releases as Nunc Stans, "The Palm at the End of the Mind" does a wonderful job of capturing the feeling of new spaces, places conjured through the expressiveness of the music. Kerby has once again shown that he has an unparalleled ability to create sonic environments, and it should come as no surprise that I highly recommend this disc.
rik - ping things
Keep up to date with ping things through
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Saturday, October 3, 2009
"Out of Process" by Runningonair
"Out of Process" is the debut release from Joe Evans recording as Runningonair, and for a first disc it displays a tremendous maturity and musical sophistication that many artists can only dream of, even at their peak. Blending organic and electronic elements Evans has crafted a collection of engaging and theatrical soundscapes that inspires and delights.
The jazzy piano of "Click Continue" opens the disc, a steady arpeggio that sets the stage for a dense and fascinating collection of sounds. Synths and percussive elements add a depth to the proceedings resulting in a groove based track that envelops the listener while an automated voice gives direction and instructions. It works well as an engaging opening, a great display of both the talent and sophisticated production of the work to follow.
"Summer Fade" begins with a much more laid back feeling, piano and brushed high hats with stretched guitar chords adding colour. A slow melody brings to mind that lazy sense of time that only happens during the summer months, a languid wash that plays against the heat. It's a great piece for inspiring imagery and a wonderful piece of music to imagine to.
"Disappear Fast" follows with a similar pace, but where the last track had a feeling of relaxed calm, there seems to be a deeper meaning to this one, a deeper purpose that moves it along. Quiet vocals are paired with a trembling synth line adding colour to the track, and a vocoder effected voice brings a robotic sci fi feel to the proceedings. Very nicely done.
Track four, "Lost American Dream", begins as a simple piano piece that brings to mind a slowed down ragtime melody, an echo from another time that has been weakened with age. As the track progresses, synth and string lines swell and add to the piece, but it's the piano that tells the story, telling a tale of a different time, wistful and nostalgic. It all combines to create a really beautiful and evocative piece of music that I would count as my favorite on the disc.
"Milk Thistle" opens with an elastic bass line and some urgent percussion that blends nicely with some beautiful violin work. Other sounds and voices ebb and flow throughout, giving the track a really nice sense of movement and growth. I find myself returning to this track a lot as it's so rich in sound and melody, and I keep hearing new elements in it to engage me, new discoveries that add to my enjoyment of it.
"On Hold Part 1" features piano and bell work over a cityscape drone, a sense of twenty first century metropolitan living coming immediately to mind. A molten guitar line slips through the track, but not obtrusively, more to add colour to the scene and move the track along. Very nicely executed. The companion piece "On Hold Part 2" uses similar sonic elements but adds a driving percussion to the track which creates a whole new groove when paired with the guitar sounds from earlier. A really nice demonstration of how to create different moods and spaces using the same palette of sound and a testimony to Evans' skill as a musician.
"Single Source of Truth" has a playful feel to it, percolating tones bouncing around the soundscape while strings stretch through the track. A filtered voice asks questions of the listener, influencing the mood of the track in ways that direct the imagery that follows.
"Blue White" begins with the sound of tide drifting in and out, soon joined by a dense weave of pads and melodic synth. The track is strongly evocative of ocean imagery to me, and I can't help imagining night time strolls along the beach while the moon is high overhead. Another really beautiful track.
The disc closes with "Western Machine", an urgent piano melody playing underneath haunting violin. Horn sounds are added along with choral vocals and soon the track is filled with a sense of majesty and strength, purpose and power. Yet despite all of these trappings, there's still a feeling that time is running out, a sense of last gasp determination that is just about winded down. A wonderful display of theatricality and a great track to end a very enjoyable disc.
Admittedly my tastes usually run toward more abstract sounds, but I thoroughly enjoy this disc as a sophisticated and intelligent collection of music that evokes a strong imagery. Evans' talent as both a musician and producer are clearly evident on "Out of Process", and I find myself eagerly awaiting his next release.
rik - ping things
"Out of Process" by Runningonair is now available at ping things!
Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
The jazzy piano of "Click Continue" opens the disc, a steady arpeggio that sets the stage for a dense and fascinating collection of sounds. Synths and percussive elements add a depth to the proceedings resulting in a groove based track that envelops the listener while an automated voice gives direction and instructions. It works well as an engaging opening, a great display of both the talent and sophisticated production of the work to follow.
"Summer Fade" begins with a much more laid back feeling, piano and brushed high hats with stretched guitar chords adding colour. A slow melody brings to mind that lazy sense of time that only happens during the summer months, a languid wash that plays against the heat. It's a great piece for inspiring imagery and a wonderful piece of music to imagine to.
"Disappear Fast" follows with a similar pace, but where the last track had a feeling of relaxed calm, there seems to be a deeper meaning to this one, a deeper purpose that moves it along. Quiet vocals are paired with a trembling synth line adding colour to the track, and a vocoder effected voice brings a robotic sci fi feel to the proceedings. Very nicely done.
Track four, "Lost American Dream", begins as a simple piano piece that brings to mind a slowed down ragtime melody, an echo from another time that has been weakened with age. As the track progresses, synth and string lines swell and add to the piece, but it's the piano that tells the story, telling a tale of a different time, wistful and nostalgic. It all combines to create a really beautiful and evocative piece of music that I would count as my favorite on the disc.
"Milk Thistle" opens with an elastic bass line and some urgent percussion that blends nicely with some beautiful violin work. Other sounds and voices ebb and flow throughout, giving the track a really nice sense of movement and growth. I find myself returning to this track a lot as it's so rich in sound and melody, and I keep hearing new elements in it to engage me, new discoveries that add to my enjoyment of it.
"On Hold Part 1" features piano and bell work over a cityscape drone, a sense of twenty first century metropolitan living coming immediately to mind. A molten guitar line slips through the track, but not obtrusively, more to add colour to the scene and move the track along. Very nicely executed. The companion piece "On Hold Part 2" uses similar sonic elements but adds a driving percussion to the track which creates a whole new groove when paired with the guitar sounds from earlier. A really nice demonstration of how to create different moods and spaces using the same palette of sound and a testimony to Evans' skill as a musician.
"Single Source of Truth" has a playful feel to it, percolating tones bouncing around the soundscape while strings stretch through the track. A filtered voice asks questions of the listener, influencing the mood of the track in ways that direct the imagery that follows.
"Blue White" begins with the sound of tide drifting in and out, soon joined by a dense weave of pads and melodic synth. The track is strongly evocative of ocean imagery to me, and I can't help imagining night time strolls along the beach while the moon is high overhead. Another really beautiful track.
The disc closes with "Western Machine", an urgent piano melody playing underneath haunting violin. Horn sounds are added along with choral vocals and soon the track is filled with a sense of majesty and strength, purpose and power. Yet despite all of these trappings, there's still a feeling that time is running out, a sense of last gasp determination that is just about winded down. A wonderful display of theatricality and a great track to end a very enjoyable disc.
Admittedly my tastes usually run toward more abstract sounds, but I thoroughly enjoy this disc as a sophisticated and intelligent collection of music that evokes a strong imagery. Evans' talent as both a musician and producer are clearly evident on "Out of Process", and I find myself eagerly awaiting his next release.
rik - ping things
"Out of Process" by Runningonair is now available at ping things!
Keep up to date with ping things through
the ping things twitter feed
the ping things facebook group
and the ping things ning group!
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