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Spacemusic Reviews

Tag: Electric Guitar

Noveller: Arrow

Arrow

Arrow

Noveller: Arrow
Released: 12 June 2020
www.badabingrecords.com
www.sarahlipstate.com

The late solo sets by Noveller have been before amped up crowds waiting for St Vincent or Iggy Pop to take the stage. Producing music in a register much different from that of the more contemporary main acts, her performances effectively had those assembled abandon their inner sense of chaos and surrender to engulfment. Rallying and renewing this live work mixed sonic invention with an air of familiarity – so that the audience’s interior world would, for a time, slow, still and supplant the reality outside of it. On her studio album Arrow (40’30”) Noveller (Sarah Lipstate) embodies the stern principles of the rock guitarist as immediately as she does the innovative spirit of Spacemusic. The combination of steel strings, slides, picks, pedals and miscellaneous boxes and gizmos blossoms into euphoric arrangements of glowing ghostly ambience and withdrawn textural states. Asking the imagination to enlarge, so as to approach the scale of Arrow, its breathing atmospheres and otherworldly vistas reflect on this musician’s creative force. To realize these eight sonic vignettes the music required an intensity of concentration, and yielded no wasted space. With more neurons firing in the brain, more ideas will rise in the mind – storms quiet, centuries blur, an undertow tugs. Loaded with lush looped and layered guitar orchestrations this release possesses an endless energy. Lamentation and rage resolve into consolation and redemption – artfully refracted by Lipstate’s shivery strumming, and the delicate wash of rounded metallic timbres and murmuring drones. While Ambient Music is only abstractly a genre, Arrow proceeds with all the weight of a symphonic statement. In shades of slow melodic gestures and recurring chords we hear the beauty of our fading future. But her music resists oblivion and conveys resonant questions – as certainly as sound in the air can be an expression of the soul. Lipstate is fixing a broken world …one soundscape at a time.

Chuck van Zyl/STAR’S END9 July 2020

Miles Richmond& Peter Grenadr w/Steve Roach

POV2

POV2

Miles Richmond & Peter Grenader w/Steve Roach: POV2
Released: 19 June 2020
www.pov-music.com

When the accumulated trauma of modern life gets to be too much, there is POV2 (51’14”). The absorbing take-me-away release so many of us need right now, its effect is dreamy and disorienting in the best way possible. The true force behind this project is the chemistry between Miles Richmond (guitars) and Peter Grenader (various electronics). This duo directs the talents of sonic identities Thighpaulsandra (piano), Theo Travis (alto flute), Martin Shellard (guitar) and Steve Roach (synthesizers) to realize another sonically shapely inventive album. Atmospheric, bracing and effortlessly cool POV2 maintains an impressive focus and momentum through its five tracks. Gently swirling outward the playing is fluent and gorgeous. The designs of the compositions are elegant and gripping – moving as easily through the air as they do into your heart and your mind. Here and there we can make out a reverberant piano, an acoustic guitar, or a chord played on a synthesizer. But these works are so exquisitely balanced in their manipulation of the sound space that one scarcely notices their separate elements. Inside even its lowest midnight is a sincere interiority. Primary structures of minimalism become vivid, then darken into a quiet suspense. Where tensile electric guitar solos reoccur in ever strengthening cycles, rolling ambient loops and washes flow slow in the infinite permutations of theme associated with this approach to music. Characterized by the reiteration of extended phrases and extended sound generation, fragments of flute melodies travel on currents of shimmering steel strings, while reverb laden notes softly emerge and recede. Aligning with the values of good Spacemusic POV2 enables a mental state that runs counter to that of the domain outside of the self. The promise of escape from the sad, the bad and the ordinary is central to the restorative concepts of this manner of music. Lovers of this style know well that Ambient musicians are world-builders of the mind. But just imagine that their principles were also used by the builders of the physical world. With movement being made towards the betterment of humankind, all of us could feel content in the thought that what was possible might still be done.

Chuck van Zyl/STAR’S END18 June 2020

David Helpling: Rune

Rune

Rune

David Helpling: Rune
Released: 22 November 2019
www.spottedpeccary.com

David Helpling tells stories with a cool skill. We should take to listening to his release Rune (67’55”) just before bed, because it feels built of pre-dream sweetness and of that familiar longing for adventure. Its eight tracks weave their way into your mind – each providing a pleasurable atmosphere within which to dwell. Both deeply felt and elegantly played Rune is disarming in its subtle tonal shifts. Taking a calm stance, from his electric guitar Helpling elicits works of languorous introspection. Exploring the possibilities of playing his instrument through the endless delay of digital processors he designs a rich and varied palette of textures and tones – which makes for a constantly renewed musical interest. Along with the looping riffs, sustaining leads and studies in slide guitar Helpling also deploys grace-filled vibrating metal chords and shimmering steel string structures flung toward the sky. Riding the tides of sonic seas, this work shifts in currents of harmonic motion. Textures thicken, and we become enthralled in the revealing depths of solemn and unfrequented regions. Helpling’s imagination carries these performances, which are often beautiful, even breathtaking. Rune will be well-received by the ears and hold fast to the heart. Beneath his album’s slick surfaces there is an insistent humanity – an understanding of the greater whole of which his music is a part.

Chuck van Zyl/STAR’S END – 28 November 2019

Hotel Neon: Relic

Relic

Relic

Hotel Neon: Relic
Released: 10 September 2019
www.hotelneonmusic.com

Hotel Neon has always made subdued ambient music with a measured intensity. On Relic (36’27”) they pull from emotional depths and faded memories to shape an album coated in nostalgia and withdrawn creeping textures. On tape the music is an exercise in idea building, on stage it is sheer bliss. The slow burning style of spacey sonics radiates outward, even as the effect works its way toward the glowing inner workings of the listening mind. In five twilit scenes Relic provides a quietly moving impact. The tones the trio produce are processed, delayed, distorted and looped – creating complex harmonies and timbres not usually associated with ordinary electric guitars and keyboard. The vibrations emanating from rubbed, plucked or excited steel strings swirl and morph and assume a new identity. In spare, rare piano notes Hotel Neon extend their poetic ambitions. Under a kindred midnight these fully charged pieces retain a solid formality. Gauzy but gleaming below layers of reverberation a delicate music shows off the ethereal power of sound. As night falls, the guitars call, low in the lowlands and high on the hills. From heights descending notes fall fast, while ascending sounds take more time to reach us. Tones too big for the ear enter through the chest, to touch the heart – then retreat into silence. Following the thread in our head, the emotional intensity of our Relic will open within.

Chuck van Zyl/STAR’S END14 November 2019

Miles Richmond & Peter Grenader w/Steve Roach: POV

POV

POV

Miles Richmand & Peter Grenader w/Steve Roach: POV
Released: 5 July 2019
www.pov-music.com

In a sound voyage through dream lands, electric guitarist Miles Richmond and synth-smith Peter Grenader, along with Spacemusic icon Steve Roach have realized POV (61’01”) – an album of fluent and unified music. At times a casual ramble, while at others a vast soul-searching ascent, this deeply lived work leaves the light of our mind on, but with its engine slowed considerably. In six substantially structured tracks Richmond & Grenader with Roach trace graceful compositional arcs. Their creations initially progress in a prevailing sense of propulsion, but further in they go deep, down, dark – descending into a twilight territory. Synthesizers and processed guitar all figure into the arrangement. Lushly orchestrated, POV moves calm, warm whirlpools of tones through thickening electronic drones. As emotionally charged liquid lead lines snake over rolling ambient loops and washes, the listener will gain a feel for texture, gesture and atmosphere. With darkness resolving into light, this album softens. In trembling, shadowy chords, and guitar quotes drawn from “No Pussyfooting”, it shines with promise. POV seems meant for us to tour the cosmos, while sitting quietly in a small room… to wander past everything, into shadows forth, and heartless voids and immensities. By listening to this release, you have taken your first steps onto a larger, better realm. This work offers the feeling of being welcomed, in a way that the rest of the world simply cannot.

Chuck van Zyl/STAR’S END1 August 2019

Jon Durant: Alternate Landscapes

Alternate Landscapes

Alternate Landscapes

Jon Durant: Alternate Landscapes
Released: 3 May 2019
www.alchemyrecords.com

Along with all the usual effects boxes and digital processors guitarists use nowadays, Jon Durant arrives to the recording studio with a great number of solid ideas – good ones, the kind that must track across a sweep of beautiful moments and sonic states in order to become fully realized. His album Alternate Landscapes (58’36”) takes its time in getting its point across. The four pieces are mysteriously affecting, and brilliantly inhabit a musical realm richer and stranger than the standard fare. Alternate Landscapes will take some getting used to, as Durant’s inventiveness will engage unsuspected capacities of our ears and minds. He is not merely sending sounds into space, he seems to be making music whose motion induces space. Vistas may open behind this music – not as settings, but more like the airy or plunging ambiences found in dreams. With gracefully unfurling, caressing phrases, Durant extends his poetic ambitions. Loaded with lush layered guitar orchestrations this album seems of an endless energy. A complexity of sounds merge and separate, leaving the listener with the impression of an aural terrain in motion. As mild yet mysterious discord causes tension and anomalous melodies distend across an illimitable distance, each composition retreats into it own unique territory. Durant travels deeper and further with a resolute sense of discovery. He is also not afraid to veer off into unknown realms – exploring whatever sonics and phonics his improvisations may lead to. As an artistic statement, Alternate Landscapes has nothing to struggle against – other than the dullness of modern minds.

Chuck van Zyl/STAR’S END30 May 2019