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Spacemusic Reviews

Category: Synthesizer

Arjen Schat: AS

AS

AS

Arjen Schat: AS
Released: 1 September 2018
www.arjenschat.nl

Prior to spinning AS (44’29”) by Arjen Schat, try to imagine that this music is not residing on your digital player, but rather that it is waiting for you in some safe celestial space. Everything sounds better under starlight, and so from out of the galaxy deep this music will seem exquisitely formed. A heroic explorer, Schat’s reach is long. Representing either urges in the brain, or a sense of moving through an interstellar expanse, AS is loaded with pulsing synthesizers migrating in synchronized, echoing patterns. Along currents of dancing notes, each sequencer line reinforces the next – while full-throated lead lines rise like a strange hollow singing in our hearts. Designed to propel the listener endlessly through a trackless void, this album seems to confidently create its own space as it flies – however searching, tremulous and immeasurable this fascinating sonic realm may be. Carrying the light and line together we can almost feel the heat coming off of Scaht’s instruments. Yet, in this wonderful journey of four tracks, he manages to take us where his machines alone cannot. Who is it that knows how to navigate through the storm? That would be the person who has caused the storm. Being on your own, one can go deeper – and in his music Schat takes full advantage of this freedom. The sheer artistry displayed throughout AS is so expertly accomplished that we listeners cannot help but be seduced. It is remarkable how many fresh reserves of musical energy Schat teases out of such a well-established genre. Energy sparked by creativity is full of potential, and AS confirms that Spacemusic thrives when it provides an alternative to the doldrums of that which is common. This music is free to witness its own history, but has it lived up to the ideals that framed its founding? Possibly. If Schat can do everything right, control the chaos of electricity, move sound in the proper direction and place, he just might make something perfect.

Chuck van Zyl/STAR’S END11 October 2018

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Alluste: Alien Worlds

Alien Worlds

Alien Worlds

Alluste: Alien Worlds
Released: 24 May 2018
alluste.bandcamp.com

Piero Monachello is a propulsive musicmaker, and knows well how to keep the listener engaged. As Alluste his sequencers fire like the neurological mechanisms behind the mind’s functioning, and help better align thought and mood toward a more positive current. His Alien Worlds (61’18”) may be based on the 1970s Berlin-School, but it narrates from the present. Each work emerges and develops as in a slow gathering of hot blood. Still marveling at the beauty of synthetic sounds, the veteran Monachello sparks reactions and arouses emotions across eight tracks of brain beat Spacemusic. One does not listen to this music so much as drift into it. In a swirl of throwback synthesizers a tumbling latticework of echoing arpeggio notes dance along scales of nocturnal minor key chords. Lush harmonies sigh and whisper their celestial concord, as piano keys play out dramatically under digital reverberation. Full string sections may add warmth and fullness to one composition, as quickly as an ethereal vocal will leave us in a trackless void on another. Animated by the power of melody to convey emotions Alien Worlds stands strong against the harshness and cynicism that tears at the fabric of our world – and reminds us that we all still have our own feelings, questions and fears. While being all instrumental, Alien Worlds somehow manages to speak in a human vocabulary – requiring us to be beholden to something other than our own opinion. If you play this album, then you are agreeing to listen to Monachello’s story. There is a spirit that this music catches you up in, yet it is meant only to serve us – and that which stirs in our deepest of hearts.

Chuck van Zyl/STAR’S END30 August 2018

Tony Masiello: Euphonic Interference

Euphonic Interference

Euphonic Interference

Tony Masiello: Euphonic Interference
Released: 20 July 2018
tonymasiello.bandcamp.com

The problem of Electronic Music has been left unsolved by the mainstream, and so – since it was never commercialized or domesticated – Electronic Music has followed its own path. Taking risks less adventurous others would not, Tony Masiello makes music so as to experience the shear pleasure of creation. His release Euphonic Interference (71’50”) favors the topical over the universal, with the main point of this invention being the method by which it was made. Fans of modular synthesizers and the skillful coaxing of these music systems will find much to savor throughout this album. Euphonic Interference is not a song you listen to, but rather a network you enter. Sounds invade the listener’s space in a line of continuing well ordered events. Masiello’s deliberate pacing establishes this work as more of a cold intellectual puzzle than a poem made of sound. Pulling us along with him on the studio performance odyssey, he wanders, looking for routes. This music is not about epiphanies; it is about discovery and potential. In a full examination of minute changes in timbre over time, we humans may hear the soul of a machine – in the care of a promising artist. Well into this long form piece of process dissolves into environment – an electrical formation of freestanding reality. At every moment popular music is explaining itself, while most of EM exists for the purpose of pure discovery. Is Masiello creating music? or just minding/overseeing an array of equipment? Euphonic Interference will never explain itself, unless the listener has the intellect of a technician, and the mental apparatus to interpret what is being heard. The rest of us will feel its volumes, vectors and densities – and austere lucidity.

Chuck van Zyl/STAR’S END ¬† 23 August 2018

TaboTago: Kymatica

Kymatica

Kymatica

TaboTago: Kymatica
Released: 18 April 2018
www.iapetus-media.com
tabotago.wordpress.com

Bernhard W√∂stheinrich, Andreas von Garnier and Leander Reininghaus are the Spacemusic ceremony celebrants TaboTago. These three minds are a fascinating interconnected machinery. Steeped in the brew of the Berlin-School their album Kymatica (52’12”) conjures well that particular era’s vague air of cosmic mystery. Throwing off currents of nervous, wiry energy this music portrays a specific moment of human interaction. The three musicians concentrate intently on the task before them. As their jam sessions deepen, they becoming oblivious to the rest of the world, which enlarges the sense of real contact and cooperation. Kymatica‘s six skillfully navigated tracks should make it obvious that there are real people involved in the realization of this music, and not a one of these pieces is the result of casual interactions with algorithms or automated applications. As sequencer patterns bolt from the starting line, seemingly with a pack of demons at their backs, Mellotron flutes, strings and choirs sweeten the air with their dulcet strains and affecting harmonies. Further in a discourse for electric guitar and synths has an air of self-interrogation – achieving an uncanny directness. It is an anthem for anyone who has raged alone at the night, sending questions into the darkness. But hearts should always mend by morning, and Kymatica quickly moves beyond the sunrise and back into starlit terrain. Minor-key chords are split apart into mechanistic and echoing arpeggio notes, winding out, then sustaining like an engine in its power zone. Lead lines bring focus to the story of the song, while modulated effects scatter in the wake of locomotion. TaboTago is an innocent wild thing, at the mercy of a ruthlessly predatory species – which is to say we the listeners. Kymatica is much more than the result of transforming an electrical current into sound. This work warns us that the future is out there – unstoppable, and on its way… asking what will it bring? and will we be ready?

Chuck van Zyl/STAR’S END2 August 2018

Gert Emmens & Ruud Heij: Galaxis

Galaxis

Galaxis

Gert Emmens & Ruud Heij: Galaxis
Released: 31 March 2018
www.gertemmens.nl

Our brain is a predictive organ, constantly guessing what will be coming next. And so throughout Galaxis, the triple CD set from Gert Emmens & Ruud Heij, our minds should feel thoroughly exercised. With Galaxis this long-lived duo offers 14 tracks that demonstrate their range as composers, arrangers and musicians. Overtly a Spacemusic collaboration, this epic release also benefits from ample electro beat box and conventional acoustic drum kit – a rhythm feature that permits this music to access the ideals of the musical mainstream (while never forsaking its cosmic roots). As the energy level builds, Emmens & Heij head out on a reckless ride into the unknown. Sequencer patterns run in machine like precision as full-throated lead lines and penetrating synth harmonies fill out the sonic story. Their spacier tracks offer a magnificent directness. As oscillators detune and phase, modulated effects chirp, flitter and glitter, then recede into the distance. With long lines of held notes we search for a path along an undulating arc of reverie. Lulled by an otherworldly calmness, the listener drifts on these vibrating currents – drawn easily above the shifting timbral expanse. Throughout this growing density a slowly building ethereal energy may be felt. Churning, shimmering sounds flow together into a sweeping resonance, then are displaced by a new and equally novel airy form. Cosmically complex yet microscopically intricate these zones meant to spark our imagination exposes the purity and calm of two electronic souls. While Galaxis may be promoted as having something for everyone, how much better to consider this diverse offering as an invitation to embrace and appreciate the many moods and ideas of which this unique genre is capable. Beautiful and strange, quietly profound, then rocking and charged, every piece evokes an inner experience through the artful shaping of sound. In its forward thinking, this kind of music has always been about making the future, an activity that at one time took place outside of science fiction. But, as some truths are better told in sound, the purpose of this music now might lie in its ability to help us just survive the present.

Chuck van Zyl/STAR’S END26 July 2018

In the Branches + Bluetech: Behind the Sky

Behind the Sky

Behind the Sky

In the Branches + Bluetech: Behind the Sky
Released: 8 June 2018
www.behindtheskymusic.com

Whirling through the halls like a wild wind Behind the Sky (60’54”) offers the listener relief from the plight of The World. In the Branches + Bluetech ask nothing more than our quiet attention, as unpredictable swerves and drifts of their conversation apply logic to sonic symbols. Dedicated electronic tinkerers Shane Cotee and Evan Bartholomew work through their influences to achieve an uncanny directness. A realization for large forces Behind the Sky offers seven scenes of a vital analytic gravity. Thanks to the musicians’ subtly heightened, fiercely focused energies, this album advances, not at the speed you would expect of space travel, but at a rate determined by the motion of atmospheric fronts. Each section is quite distinct, moving each into its own collective texture. Sounds are quietly yet forcefully flung at the listener. In a rush of darkness, thoughts dissolve into a waking prayer – each track a moment of authentic inner expression. Round synthesizer tones form consonant melodies, slowly praising the beautiful unknown. Cycling notes echo through reverberation, uncoiling over cloud covered landmarks – as spare guitar strings ring under heavens lit by stars. Masses swell and expand then recede into less reckless zones. Conductive to thinking, Behind the Sky is yet excitingly alive. In an outflow of music there must be something more than what is called force. There must too be distinction, and a rarity of feeling. Waiting for a sign in the sky, or a word from the stars, Cotee and Bartholomew express the soft fire of collaborative moments, and the elation of transcendence between the terrestrial and the interstellar.

Chuck van Zyl/STAR’S END19 July 2018

Meg Bowles: Evensong: Canticles for the Earth

Evensong: Canticles for the Earth

Evensong: Canticles for the Earth

Meg Bowles: Evensong: Canticles for the Earth
Released: 22 June 2018
www.megbowlesmusic.com

Meg Bowles makes us vulnerable to the beauty of our planet. In doing so, she shares something of herself with us. With each album release she is becoming new herself – in ways that matter. Evensong: Canticles for the Earth (63’13”) is a beautiful original, with echoes of the greats. It is rapturous music that grants us passage into a fair land where worry follows us no more. The seven soundscapes afford space for both melodic pleasure and probing reflection. Verdant harmonies, spacey modulations and lustrous tones float through these tracks, but what lingers is the overall aura. While beautiful synthesized chords and effects drift randomly between tones and textures, rounded string pads extend above a dramatic rumbling darkening realm. Along with its ethereal choirs, murmuring bass and delicate atmospheres, Evensong: Canticles for the Earth also offers glowing bursts of energy – yet it still feels like a refuge. In an engaging, converging arrangement of sounds Bowles exerts a force on our imagination. Blurry chords of keyboard tones and the occasional gently pulsating sequencer pattern provide sleek propulsion across shimmering sonic terrain, the musical equivalent of crossing a majestic landscape, over the earth and beneath the stars. Playing with an unforced tenderness and warmth, Bowles tries to help connect the listener with terrestrial currents. But as reassuring as this work is it does remind us that we live with many questions. People seek certainty and meaning, but all the world seems to give us is ambiguity. That is because the Earth lives in its own kind of deep time, moving at a rate we cannot comprehend. So better we embrace the beauty and impermanence of the human condition, celebrate the mystery and the unknowing of life, and add our voice to the chorus of humanity.

Chuck van Zyl/STAR’S END5 July 2018