Phil Western and Mark Spybey together again! Well at least for two tracks that is. Dead Voices on Air, one of Spybey’s many projects, once again takes us to new and exotic locations. Amid their album photography on the digipak we’re whisked to far-off Argentina amid the beautiful landscape of Patagonia taken by Argentinean artist Marco Roberti. In addition to his collaboration with Western, Spybey enlists American-Serbian singer Ivana Salipur to assist on the title track, a track that is inspired by the Serbian poet Desanka Maksimovic, a poet perhaps most famous for poems regarding the atrocities committed by German soldiers during World War II. The album is Dead Voice on Air’s 14th and their 2nd collection released on seminal Lens Records. Songs range from ethnic world ambience to experimental to pure relaxing ambient. I’m constantly amazed at how Spybey and likeminded audiences are able to create such intense ambient pieces that just ooze attention-grabbing passion. Yet another notch on the proverbial belt of essential for DVOA.
Posts tagged electronica
Being a two-time Grammy nominee must come with a lot of pressure and expectations, each album and song being further scrutinized and dissected. But Carmen Rizzo seemingly shakes all of that pressure off time and time again. His resume includes co-writing on Oakenfold’s “Bunka” and Seal’s “Seal 2” with remixes of Tiesto, BT, and collaborating with Jem and Esthero. Career-wise he has also worked with such luminaries and music industry faves as KD Lang, Pete Townshend, Morissette, and Coldplay. On “Looking Through Leaves” he populates his songs with minimal dark electronics forging a surreal soundscape that is dauntingly vast. Joining Rizzo are guest vocalists Shana Halligen (ex-Bittersweet), Kate Havnevik, Grant Lee Phillips, Rosey and January Thompson. Together it’s a gorgeously flexible exploration of the next direction of electronic music and scoring. Oh and by the way, he’s set to donate an exclusive remix of his “Bring the Mountain Down” that features Grant Lee Phillips to the David Lynch Foundation.
Cascading loops with dark soundscapes and Latin-influences and velvety melodies, “Pequenas Canciones de Amor” reminds me of something off of Acuarela Discos out of Spain. Inflected indie rock noodles throughout this stirring experimental album. Exploring a variety of styles, O Paradis deploys a king’s ransom worth of diverse instrumentation. But the one all encompassing common denominator is heady vocals and a knack for crafty a finely tuned song. There’s seventeen tracks here that bridge the gap between Euro-pop, indie-pop, electronica, experimental, and abstract. I love it. Thank you Tourette Records!
Featuring seven remixes of their “Filmezza” adventuresome album, Delicate Noise’s latest remix album casts its net wide across the globe in search of artists to re-rub their music. With young-and-upcoming electronic musical groups reaching far and wide from such places as France, Japan, Iceland, Canada, Italy, Spain, and the U.K., “Filmezza Remixes” has repaved the highways that the original concreted. Throughout the album there are elements of bleak and stripped down electro house, minimal soundtrack and psychedelic art, art-noise, atmospherics, and synthetic electro. Eclectic and essential.
T.H. White wears the multiple hats of producer, musician, songwriter, programmer, guitarist, and bassist on “Company Book”. The album sounds like futuristic with flying synths and effects, chugging guitars, and static rhythms. The sound is quite eclectic, often drifting from all of the seminal asides of electronica. “Company Book” was dubbed that name due to the rampant corporatism that dominates the N.Y.C. skyline and culture. His songs are polished and are fully stacked with tilting synthesizers and jarring house beats. Nice.
Electronica can be born and raised in any venue or realm across this great plane of existence, even across fifiteen time zones. A remote corner of the Russian Federation founded Huun Huur Tu, they then joined forces with Carmen Rizzu known for works ranging from Paul Oakenfold to Seal, and was fine-tuned with instruments like the horse-hair fiddle, a vertical flute, and a fiddle with two sets of strings. Intricately woven and texturely astute while outstanding in nature.
The joy of listening to an album by Download is deciphering and breaking down each element to the complex sound collage that makes up each and every track. “Sorcear” is a perfect example, trolling about with an almost raunchy bassline and rhythm track, there’s exhausting bleeps, noises, and distorted sounds emanating from the speakers in a random yet controlled chaotic setting. “Zass Pie” continues with yawning voice samples that seem to whisper subversive hints into each ear only to be stood up tall with a military-esque kick drum and blasts of filtered rhythms. Over the years, cEvin Key (Skinny Puppy, pLateaU, Doubting Thomas, etc.) has honed his craft into an ambient textured orchestrated chaos with fittings of pure keyboard bliss, distorted and tangled sound effects, and mangled samples that reek of bong residue. Key over the years has easily been recognized as one of the most influential artists in the electronic circuit surpassing the likes of Autechre, Nine Inch Nails, and even the mighty Aphex Twin who now seem to follow his grace with rabid fascination. Twisted acidic breakbeats haunt many of the tracks with a renewed focus on dance rhythms that are broken, tossed into the air, only to rain down upon our ears. Each album that Download seems to pen casts aside previous futuristic sounds for a chaotic future of disco breaks that no one ever sees coming. Perhaps the most intriguing element of “FiXeR” is its uncanny ability to connect with the listener on so many different planes of existence–I could easily sit still and absorb each tune, as well as get up and attempt to dance, or leave it as background music while reading; but it really gets its vibe off proper when the listener allows each cast-off melody, every broken beat, and all singularly textured and heavily effected soundwave wash over him or her seeming to will a mirror of the listener’s soul and thought patterns out in a playful way. Astonishing and perhaps one of the best all-time electronic albums.
Haunting vocals that instantly recall Thom Yorke ballads, Brice Woodall and the Positrons boost the fray with electronica, organic indie pop, and sweet soundscapes dripping with honeydew guitars and sober percussion. Steve Barber played the role of bassist, engineer, and producer on “Sine Wave Sea” at the Freezer Studio in Richmond, Virginia. Emotionally charged pop vocals dole out the light jabs of perfectly gemmed indie pop while the songwriting carries off your body into a new environment. Perfect.
Modern electronic pop-rock hybrids Baumer unleash their definitive album upon us with “Were It Not for You”, a devilishly catchy album of powerful hooks and electro-pop cleverness. Hailing from South Carolina, their sound may be an odd fit for their surroundings but there is a certain unadulterated humidity about their choruses and fist-pumping verses. Armed with a knack for uncanny lyrics, Baumer levels the playing field with each and every song. Imagine a lesser Muse and you’re on the right track.