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Spacemusic Reviews

Kelly David: Meditation in Green

Meditation in Green

Meditation in Green

Kelly David: Meditation in Green
Released: 23 August 2019
www.spottedpeccary.com
www.kellydavid.com

Kelly David is exploring the Earth, and discovering that it is far bigger than he imagined. The release Meditation in Green (58’03”) allows us to project ourselves into his luxurious, long-view. Those open to the seduction of electronic drama and its beautiful symbolism will be substantially rewarded. Utilizing a variety of pristine field recordings, and layering them with gentle percussion and evocative synthesizer surfaces Kelly David produces passages of mystic bliss – where reverberant chords move like slow clouds on the horizon, and glowing tones flex and fade off into a buzz of jungle. From ethno-grooves to Forth World dreamscapes, the arc of this fantasy for synths, samplers and landscapes recedes and expands as the music flows across a leafy, watery and often intense sonic terrain. Some tracks add a ceremonial rhythmic propulsion, but we will recognize that most of Meditation in Green is pushing slowly through a dreamy, verdant realm. This work’s series of seven interludes build tension through minimal means, driving one to consider the larger questions of what it is to be alive. The listening experience is sensuous enough to become lost in, but so vivid that we might encounter ourselves somewhere along our travels. In its textured roar, wilderness sounds, ethereal atmospheres and thunder claps we find an escape from the broken world. The screens of our modern times offer so much to look at, from the trivial to the sublime. Yet, Meditation in Green proves to be a move vivid experience than any random feed could possibly offer. To give his perspective on the world and its ancient governing powers this artist’s vision reaches us through the act of listening, to be interpreted within the theater of our minds.

Chuck van Zyl/STAR’S END17 October 2019

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Various Artists: Cosines and Tangents

Cosines and Tangents

Cosines and Tangents

Various Artists: Cosines and Tangents
Released: 18 October 2019
www.din.org.uk

For those contributing tracks to Cosines and Tangents, music is a more precise way to communicate. This volume, the third in the Tone Science series, presents nine works – every one made using a unique modular synthesizer system. Each component within these cases and cabinets is a discrete part chosen and arranged according to the taste and direction of the individual artist. Filters, oscillators, mixers, ring modulators, envelopes, and other even more esoteric pieces provide an unprecedented flexibility in sound design and music making. They are systems that are not fixed in the way conventional instruments are, and attract an interesting mix of musicians and engineers. Represented on Cosines and Tangents are a compelling cross-section of talented people from out of this body. From the raw power of Berserker by Redshift, to the intellectual vigor of Cyclosporum by Robert Rich, then down to the unpeople space of En-Edge by Radek Rudnicki, on up to the gentle mental popping pulse of Round #2 by Benge, this collection, in turns, offers the feeling of coming home, followed by the sense of leaving Earth. Overtly synthetic, these realizations all confer a particular electrical power – in hopes of awakening possibility in listeners. As there is no one perfect way to perform this music, we are well served by the select imaginations uplifting this group. Threading between the forces of chaos and order Cosines and Tangents produces a fascinating energy – a trait which has yet to be fully explained. However, what may be explained is why the field of Electronic Music has over these many years remained so innovative, so ahead of its time. This is plainly so because its practitioners have not forgotten the first principle of their work… the expressive manipulation of timbre – and remained true to a faith… that just as the soul animates a person, so timbre animates a sound.

Chuck van Zyl/STAR’S END10 October 2019

Bart Hawkins: 21 Pulse Eclipse

21 Pulse Eclipse

21 Pulse Eclipse

Bart Hawkins: 21 Pulse Eclipse
Released: 27 September 2019
www.spottedpeccary.com

21 Pulse Eclipse (73’30”) unsettles the digital dust. This debut by Bart Hawkins unwinds our minds with eight tracks of gray matter vibrating tones, textures and experiments. His is an unusual realm of different musical laws, and music from this zone will reveal as much about the composer as it does about the listener. 21 Pulse Eclipse resounds in the abyss between dreams. Its lack of reference points may bother some, while in others this feature will be welcomed – for all the questions it will provoke. In its provision of a great many forbidding, fugitive sounds, this work may seem to offer an overfull emptiness. Its stacked layers of oscillations and modulations produce an undulating audio field. The denser areas of sound may be perceived as disjunct, non-directional and dissonant, while just across the landscape a cloud-like mass of harmony slowly drifts closer. With little in the way of a tonal center, a consonance may arise out of the random pulsing of two oscillators – an exercise which offers insight into the relationship between sound and the psyche. With no frame of reference to anything in the natural world, Hawkins’ realizations remind us of a more complicated existence. Hair raises from the skin as electrical charges build up. When uncertainty becomes the effective state, time disconnects, and an unexpected beauty emerges. For all the emphasis on the machinery of Modular Synthesis truly 21 Pulse Eclipse comes from the tradition of music as a product of human thought. Whether considering composition, performance, listening, or appreciation the constraints and capabilities of consciousness play the greatest formative role. Our response is completely internal. Upon its absorption this release shows signs of deepening the mystery of our condition – and so renew one’s sense of wonder.

Chuck van Zyl/STAR’S END3 October 2019

K Markov: Interactivity

Interactivity

Interactivity

K Markov: Interactivity
Released: 24 September 2019
www.synphaera.com/exosphere

In playing Interactivity (65’33”) you are agreeing to listen to K Markov‘s story. Expressing a mood, an atmosphere, a tone, in a numberless variety of subtle sonic shadings, he travels through space like a rocketeer blasting past planets. Polished, rigorous and sober this release is influenced by the 1970s Berlin-School, yet it narrates from the present. Each of its five tracks emerge in a slow gathering of ominous growls – putting the audience inside the action. The amorphous texture of Interactivity initially fills out our space with dense forms. These timbre experiments provide an unexpected excursion. As drifting drones roll out their charged current, the potent, primitive force of sound itself expresses power. Above a storm of sequencer patterns, rushing synthesizer chords mix with lead lines and bristle with electrical current. These pulsing passages are spirited performances of melodic and rhythmic flight. Slow melodies hold forth above a venting mass, while echoing note cycles peal out amidst animated keyboard leads. With electronic harmonies rising and falling in passages of light and dark, an unexpected beauty emerges. Beneath the enigmatic cool of a deep space traveler, this musician generates heat. When tonal content melts into a muted metallic ringing, modulated effects bring on a darkening chill. Here too Markov captures angelic harmonies, amid mined subterranean frequencies. The structure of Interactivity sets the pace of thought. Out past the storms of Jupiter, the rings of Saturn, and the other gas giants, past where the planets end, we may find – among the stars – that there is a meaning to this work. It urges us to be more, not to just want more. Animated by the power of music to convey emotions it stands strong against the cynicism that tears at the fabric of modern life.

Chuck van Zyl/STAR’S END26 September 2019

Hans-Joachim Roedelius and Tim Story: Lunz 3

Lunz 3

Lunz 3

Hans-Joachim Roedelius & Tim Story: Lunz 3
Released: 30 June 2019
www.curiousmusic.us
www.roedelius.com
www.timstory.com

Lunz 3 (69’23”) makes our collection of contemporary music one masterpiece richer. Hans-Joachim Roedelius and Tim Story do sound great on their own, but transcendent together. Through a unique intuition their collaboration leaves enough room not only for one another, but also for moments of tenderness and light. It is a dream team-up that is by turns searching enough to elicit some head-scratching, yet gutting enough to bring a listener to tears – sometimes in the span of a single composition. In the yawn of years since the issue of the original Lunz (2002) this duo has strived to become more worthy of their craft. Lunz 3, bathed in the autumnal light of time remembered, is partly a studio re-imagining of the earlier tracks, but to some extent a fresh new endeavor. Building on ideas and themes from the prior release, Roedelius and Story easily re-inhabit the gentle gravity of their Ambient Chamber Music. The musical gestures encountered here again feel straightforward and uncomplicated. By combining vague classical influences with weightless spacemusic, they conjure up a safe zone – an odd area where the notes may stay the same but their meaning is ever changing. With the pianos, cellos and violins engaging in lovely melodic substance, an ethereal sonic invention adds instruction-less puzzles. Bringing fragrance into the listener’s solitude an imaginative assortment of samples, gentle distortion and other detailed effects move these 18 key-centered pieces, by root progressions, each to their own perfect resolution. With wit and wisdom in every tone Roedelius and Story realize their quiet, hand-played works. Fundamental is the thought that people may be reached, that beauty can make a difference. Due to its expansive promise their music seems inexhaustible – as the musicians and their listeners are constantly seeking more from it. Lunz 3 opens a rare space for peace, thought and warmth. It is as powerfully effective as instrumental storytelling gets – flowing with the solemn, blissful insistence of life itself. From a slow chill and friendly sweetness, to the feeling of leaving Earth, or even the sense of coming home, for the duration of this album we get to live in a realm that we can make sense of.

Chuck van Zyl/STAR’S END18 September 2019

Jeff Pearce: Skies and Stars

Skies and Stars

Skies and Stars

Jeff Pearce: Skies and Stars
Released: 13 September 2019
www.jeffpearcemusic.com

Jeff Pearce has a way of making unique experiences transferable. Skies and Stars (59’57”) is his dramatic reflection on the night sky, and possibly even the forces that have placed him there beneath it. Celebrating the first lights of evening onward his music widens the aperture on the heavens as it tightens its hold over our attention. With its three tracks of lush layered guitar orchestrations this album seems of an endless energy. Under a cavernous reverberation metal wires vibrate and bend, then breath and bloom into atmospheres, textures, and passages of interiority. Each silvery string on Pearce’s guitar has a story to tell… a different episode of time in which the listener and the music become the same through the seemingly endless decay and regeneration of all things in the Cosmos. This music gives few answers, preferring to dwell on the enigmatic. With its daunting intervals and shiny core, Skies and Stars is shrouded in a misty mystical digital signal processing. Through the clever use of loop pedals, long echoes and the splitting and shifting of sonics a dreamy cloud of harmony is realized – yet with always a few tones still lurking in a vast darkness. Trembling with emotion, the music conveys a timeless yearning. This musician seeks permanence, not transience – but the magic of each of his work’s many musical moments vanishes as soon as we pay them any notice. Fans of this style of Spacemusic will know that from there to here is never a straight line. In an era of fidgeting, Skies and Stars offers an arc of unbroken concentration. As the world seems about to slip and tip off its axis, Jeff Pearce is making music for whatever is beyond the horizon of this failing realm. Listening past its ample exploratory marvels, this album offers a kindness, a gentle warm familiarity, rendered into a beautiful keepsake.

Chuck van Zyl/STAR’S END12 September 2019

GROBEK: GROBEK I

GROBECK I

GROBECK I

GROBEK: GROBEK I
Released: 22 July 2019
grobek.bandcamp.com

GROBAK is the duo of Jorg Erren and Christian Steffen, who take part in an annual off-season synthesizer jam in the village of Ouddorp on the North Sea. Each of their Wintertime rituals yields a wealth of new music, made proper after additional weeks or months of editing and re-imagining. The tone of their album GROBEK I veers from quietly electronic and textural, up to the kinetic and the reckless. Moving in the mad poetry of its energized, nodding notes, up through echoing, tumbling sequencer patterns, this album then again backs down – veering between the two realms in an easy flow. Calmly hypnotic, the pulse of this music tries to align the conflicting energies of the mind. Yet, within the overlapping mobility of circling and spiraling notes, the excitement, emotion and mystery of this work is expressed. As bold synth melodies search for accompaniment, the current of sound builds, recedes, then resolves into an adagio of synthesizer strings. Every minute of GROBEK I seems filled with something that demands our attention. With its interlinked shifting arpeggios the sound of a wildly spinning engine softens to that a more harnessed propulsion. The atmosphere is lean, transparent, surging – like currents journeying through a limitless expanse. Raw, dark and dreamy, we feel the potency of every note. GROBEK I is a studio album which vibrates with restrained intensity, yet remains fully energized by the free-form nature of the recording process. In its mix of anthemic melodies, harmonic landscapes and motorik rhythms the listener will find a steady sonic pleasure – as each of its nine tracks glitter with its own charm and electricity.

Chuck van Zyl/STAR’S END5 September 2019