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Spacemusic Reviews

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

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K Leimer: Threnody

Threnody

Threnody

K Leimer: Threnody
Released: 20 July 2018
www.palaceoflights.com

When K Leimer is unable to find refuge in his own long thoughts, he makes music. Of continuous interest to the ear is Threnody (71’14”), which presents nine innovative works for everywhere and everything that lies ahead. At times psychologically loaded, the people-less, imaginary worlds Leimer creates have an entrancing effect. From the nakedly vacant, to passages of off-kilter rhythms and rhymes, this release moves through the smoky and textured to regal conclusions. Slowly bowing thick strings and spare open piano notes hover above the comings and goings of a crawling bass. Faint sounds surface into a distant mist of gentle distortion, while ensemble chords hang and sweeten the air around us. From out of another mental corridor, a gritty, scratchy clicking, followed by random rumbles, which seem to imitate the workings of a singular mind. Each piece on Threnody provides a gradual mental groove – the ideal basis for our technologically assisted dreams. When the tolling of soft struck metal sounds cold through reverberant space – it is as an announcement of the history of one track entering into the next. As humans we find it impossible to escape the past, yet with Threnody we are guided to look to the future. Resisting the intrusion of interpretation, taken as a whole this album is an enchanted excess of smart atmospheres and ambient production. Threnody places the burden of meaning on the listener. Any intelligent person will understand these compositions, but find them impossible to explain to another in a meaningful way. K Leimer makes this achievement seem effortless, as if the undercurrent of each song is a whispered confidence shared with a friend. He approaches his work with a point of view all his own. Whenever he does everything right, controls the chaos of electricity, moves sound in the right direction and place, Leimer can make something perfect. Just as fate whispers to the warrior, creativity will speak to those who pay attention.

Chuck van Zyl/STAR’S END16 August 2018

Jeff Greinke: Before Sunrise

Before Sunrise

Before Sunrise

Jeff Greinke: Before Sunrise
Released: 6 April 2018
www.spottedpeccary.com
www.jeffgreinke.com

An artist cannot really be represented by a single release, but rather is suggested through an accumulation of work. Throughout his lengthy and varied career Jeff Greinke has gone through an evolution – or maybe, because of its length and so many interesting twists and turns, this aspect of his life may be better described as a convolution. While his earlier albums searched through the rubble of the unconscious, Before Sunrise (57’20”) switches from the cerebral to the specific. With the rigorous organization of the interplay of texture, melody and harmony, and stemming from a developed instinct, he organizes Ambient forms to give his creativity a lucid expression. As usual, Greinke approached the task of producing Before Sunrise with a point of view all his own. Due to the presence of cello, clarinet, piano, vibraphone, flute, French horn, violin and viola this release may be thought to fall in the category of Ambient Chamber Music – and certainly, if you like this sort of thing, then you will not be disappointed. But Greinke has always been a musical outsider – not even faintly trying to get inside – and so these eight tracks do retain that feel and integrity to one degree or another. Some sections of Before Sunrise flow like a spiritual quest for life’s meaning, while others celebrate the outlaw life this remote genre of music may support. As the unwinding ribbon of notes from a violin bend plaintively, droning strings support a melodious narration. Further in a wooded wild place materializes, where we wait, under stars, in the cool of night, well in advance of the first sign of dawn. Thickening under a solemn atmosphere, we may feel a nocturnal presence – like something impending. Possessing the capacity to inspire contradictory responses, it is often very gorgeous – this strange and beautiful wayward place of sound. After all these years, decades of making records, Greinke still asks for nothing more than our quiet attention. There is something radical about that, and about such stubborn faith in one’s work – and in us.

Chuck van Zyl/STAR’S END9 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

Robert Rich & Markus Reuter: Flood Expeditions: The Gatherings 19 May 2018

Flood Expeditions: The Gatherings 19 May 2018

Flood Expeditions: The Gatherings 19 May 2018

Robert Rich & Markus Reuter: Flood Expeditions: The Gatherings 19 May 2018
Released: 4 July 2018
www.robertrich.com
www.markusreuter.com

People pray in a church. On 19 May 2018 Robert Rich & Markus Reuter played in a church, and did something that was truly new. Their program for The Gatherings Concert Series merged the aesthetics of Classical Music with the profanity of improvisation; as this duo did not just acknowledge the mystery of existence, they celebrated it. Their album Flood Expeditions: The Gatherings 19 May 2018 presents the full concert – where Rich performed at the grand piano and Reuter with his Touch Guitar and digital processing before a rapt Philadelphia audience. Some audiences sing along, or clap, while others may drink, dance, sway or bob. Symphony attendees read the conductor’s notes. At The Gatherings we listen, which provided Rich & Reuter with an opening to delve deeper into a new set of explorations – of a magic they had first encountered in the making of their 2017 studio album Lift a Feather to the Flood. These guys know all the notes, chords, scales, majors and minors. Yet the works found on Flood Expeditions are about the subtle power of sound – not for decorating the live space, but for a glimpse into something spiritual. With its ever-fading atmospheric tones and digital haze their realizations may seem a formless vacuum, yet everything is balanced by optimism. Rich’s piano notes resound through reverberation, surrounded by surreal fluttering environmental textures. Whether playing the keys seated, or reaching into the piano to pluck, scrape and strum its inner workings, he seems to produce emanations from a lifetime of receiving and expressing wonder. Reuter waits deep in the soundscape to find many electric moments. His guitar first breathes lowly, then asserts a color of succinct distortion in heated lead lines, expanding soon into ethereal consonance. Using a uniquely routed echo, he even manages to wedge in a conversation with himself. Rather than root the audience to where they sit, together Rich & Reuter transport us to an immaterial realm – where an internal guidance awakens. This music represents something outside of ourselves, upon which we project our thoughts and contemplations. There are no instructions for listening to Flood Expeditions, there is only the sensation of hearing. As we endeavored to hear their message in the darkened sanctuary this performance reminded us of the nature of possibility – of what we can become. But Robert Rich & Markus Reuter cannot play us into the answers, we must live into them ourselves.

Chuck van Zyl/STAR’S END12 July 2018