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Spacemusic Reviews

Tag: Electronic Music

TaboTago: Kymatica

Kymatica

Kymatica

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

Bernhard Wöstheinrich, 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

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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

Klaus Schulze: Silhouettes

Silhouettes

Silhouettes

Klaus Schulze: Silhouettes
Released: 25 May 2018
www.spv.de
www.klaus-schulze.com

It may seem that when Klaus Schulze releases an album the whole history of contemporary Electronic Music lines up behind it. Yet from the audience’s perspective, the pure experience of listening to his music pushes thoughts towards the future. Silhouettes (75’00”) is for people wanting an intelligent, sophisticated production, not kid stuff. Its urgency and subtly heightened, fiercely focussed energies evoke a feeling of somber introspection. Silhouettes deepens quietly, as a deep dark something happens around the edges of its four tracks. With a tug of dire, inescapable gravity the world seems in absolute suspension – nothing moving, everything centered. In brighter passages exuberant harmonic gestures calms the formless questions gnawing at our souls. Where the music is spacious and uncluttered, sustained notes, sustained chords, and progressions of chords speak an utter truth with sound. It is a dense work expanded by inventive scoring and powerful narrative ideas. Light sequencer patterns arise, hurrying the interior current within, adding dancing tones to our teeming, gleaning minds. This kind of music usually benefits from simplicity, a point Schulze understands well. Silhouettes has a weightless allure built out of droning spaces and populated with cloud melodies that float and hover. While not exactly minimalist, because the layers are too involved and full of forward motion, Schulze’s achievement continues to be an assured, calmingly quiet atmosphere, which allows you to escape reality in a way unique to this venerable musician. However, his most enduring effect may be that he made our world appear to be a better place, by helping us keep the outside world outside – as you listen for the infinitely precious sound of the universe rhyming with one’s own brain.

Chuck van Zyl/STAR’S END – 21 June 2018

Steve Roach: Molecules of Motion

Molecules of Motion

Molecules of Motion

Steve Roach: Molecules of Motion
Released: 1 June 2018
www.projekt.com
www.steveroach.com

Those who have traveled the farthest have gained the most perspective. Steve Roach invites us to listen with him, granting us privileged access to a hopeful view. His work exerts a force on the imagination, and brings much news from a distant corner of life. The album Molecules of Motion (73’18”) feels new and electric. Excitingly alive, this CD finds its dramatic momentum and action situated in Roach’s sequencers. Focused with full-beam intensity he lends musical energy to the language of ideas. Like many armed sparks sequencers issue tones and tumbling grooves break out of the controlled voltages. In an appreciation of complexity wordless structures explore forces – as the circulating fractals of tone patterns embody greater themes: the speed of life passing, the burden of memory. In an apt blend of vigor and momentum we become bedazzled by the sound of echoing synthesized riffs running on beneath swirling textures of atmosphere. Molecules of Motion has its soft spots too. As Roach occasionally idles the engine, late scenes are filled with serene sonic beauty. This taming is a quieter action, a simpler transaction of sound. Falling into infinity, we are unable to name the upper realm. This release rewards the deep diver – as we find the undercurrent of each track includes a whispered confidence shared with every listener. In streaks, flares, and charges in the open air, each of the four tracks transport our thoughts through space and time – just as easily as they may guide our attention down to territory more microscopic. The imaginary soundworlds Roach creates have an entrancing effect – enfolding such optimism in an era of blank desolation. He never loses sight of the natural wonders he is trying to capture, or of the nebulous mysteries he is attempting to fathom. Molecules of Motion reaffirms our sonic joy as the sustaining life force that it is.

Chuck van Zyl/STAR’S END14 June 2018

Node: Node Live

Node Live

Node Live

Node: Node Live
Released: 18 May 2018
www.din.org.uk

Before the audience ever even heard the music, they knew it was there. On 27 February 2015 the concert hall at the Royal College of Music in London was staged for a rare live show by Node – the celebrated collaboration between Dave Bessell, Ed Buller, Mark Ellis (aka Flood) and Mel Wesson. In front of those seated was a city of synthesizers, arranged and wired together in a menagerie of boxes, cases and modules… warmed up and standing ready to be played by these four men. Sparking ideas about music’s ritualistic role, attendees surely felt that they were going to be part of something great – as when electricity is converted into music something wondrous is born into the world. Node Live (65’53”) provides a record of this psychic income. Like the thunder, the heaviest of this album’s five live tracks will awaken a primitive emotion within us. In parts where is present a bass so heavy that it can almost be stood upon, we feel an unrestrained directness of expression. As the inward spiral of echoing sequencer patterns are introduced, the brainwaves of the audience seem to align – as if in a combining of forces. Node Live captures the newness of this fleeting experience. Cross-modulated oscillators give the feel of being bombarded with cosmic rays, alongside classic Mellotron tones sounding out through cavernous reverberation. Electronic tones skip, dance and amble up and down chromatic scales in machine-like precision – supported by synth harmonies, glittering effects and the occasional electric guitar lead. Abstract thought zones provide a place to rest, without giving the impression of undoing or finality. It is hard not to celebrate the look of Node’s machinery over its function. But seeing all this gear (which nearly slipped from the world’s memory some years ago) assembled for a live performance may remind us that although we think we have control of it, electricity is working its will within this music and directing its every action. While Node’s work may originate at an AC wall outlet, it comes to us through our ears, and truly reaches us only through our understanding. Existing in stark contrast to mainstream music, which reflects the current values and trends in society, music by Node (and their contemporaries) achieves so much more – as it reflects the current state of the human mind.

Chuck van Zyl/STAR’S END17 May 2018

EFSS: Tidal Shift

Tidal Shift

Tidal Shift

EFSS: Tidal Shift
Released: 9 April 2018
efss.bandcamp.com

If you are seeking an easy way to shift your mind set, then just cue up Tidal Shift (54’23”) – the collective collaboration between Jörg Erren, Bert Fleissig, Jochen Schöttler and Christian Steffen. This album selectively activates neurochemical systems and brain structures associated with positive mood – as its music travels from the brain space of the creators directly into ours. Each of the seven tracks vibrates inside us, one by one conjuring a different color and atmosphere. The tempo may prowl then race outward with machine-like focus. A sense of serenity mutates into unease, setting us down amidst oxidized tones and an eerie beauty. Metallic drones, churning within collapsing worlds, are soon joined by ethereal strings and ticking percussion – with fat synthesized blobs marking time beneath flights of echoing sequencer runs. A rhythmic grid locates itself in space, and is promptly foregrounded by glittering modulated effects and raw energized sparks. Ghostly assemblages of drifting electronics become absorbed by a restless surge of synchronized patterns, only to plunge us back into the stillness of a close and holy darkness. All this and more makes Tidal Shift an exhilarating document. EFSS spends only a few days a year working together urgently on this music, and here reaches a new plateau. This release reasserts their originality as musicians – operating in the luxury of an underground haven where ideas can be explored freely with no worry of how they will land. This secluded existence is built around the contemplative pursuit of making music. By purchasing this CD, playing their work, and listening, we are granted permission to go with them on an intimate journey of creativity.

Chuck van Zyl/STAR’S END10 May 2018

Various Artists: Structure and Forces

Structure and Forces

Structure and Forces

Various Artists: Structure and Forces
Released: 16 March 2018
www.din.org.uk

It can be hard to explain the appeal of modular synthesizer systems to outsiders. Magnificent in its potential, the work being generated by this group and their gear is far too big to be just one thing (and to easily explain to the commoner). Expansive in its range, the proud topic of the anthology Structure and Forces (66’59”) is sound. Its nine tracks were chosen and ordered by Ian Boddy. While averse to boundaries, Boddy has chosen artists from a select cadre of friends and colleagues – which gives this CD the feel of an album despite the differences in approach and ambition of each contributor. The experience of listening to Structure and Forces will be as equally wondrous to the techno-file as it is the stationary traveler. With no shared system of notation, these pieces are passed to one another by playing and listening… and just as these artists are enraptured by the making of this music, so are we in giving ear. From soul-deep vignette to sonic invective, each musician translates, transforms and wanders through a realm rooted in electrical current. Even passages where little is happening seem suspenseful. Idiosyncratic phrasing and articulation result in further steps toward abstraction, yet the flow of this release may just as easily land us in the comfort of blissful tone and reassuring harmony. At about the midway point the music becomes grounded in rhythm, and we are roused from our synaptic free-form yawn zone with a thought aligning pulsating groove. Mounting percussion echoes into a brave chord progression, drops, then resumes in a regular time signature. But however engaging, this is just a different kind of story of sound. Dedicated to the humanity behind this music Ian Boddy has decades of chapters behind and ahead of him. Structure and Forces (his Tone Science project) reminds us that Electronic Music has never been tied to a single identity, and that neither is it temporary. With its streams of potentially endless variations this genre seems to attract people with an internal clock out of sync with that of society – which these days slips so easily into bored indifference. While its unifying theme is the contemporary modular synthesizer, this machinery is of little importance – when we compare these systems to the works they are used to create.

Chuck van Zyl/STAR’S END3 May 2018