lost in a sea of sound

The fanfare of humankind exalted through decomposing fragments. Gentle and beautiful fused with forgotten mysteriousness. Extractions of drama glued over old paintings found in thrift stores. Feelings and emotions gracing canvas, now an adhesive foundation for more feelings and emotions from a different medium. This is how Uncut Carrara plays, an aural collage of vivid sonic passages resting just above a pristine electronic medium of depth and intrigue.   Julia Bloop listens and listens more. Spend the seventy five minutes to experience and explore the three tracts on her newest composition titled Uncut Carrara. Understanding will begin to develop. In the beginning and end of the title track Uncut Carrara, a stronger current persists. Samples from old films parting for the most subtle field recordings, all floating on an ocean of faintly colored organ sustain.  The tranquil sonic doldrums of the middle of this piece create the foundational ambience. The second track, A Million and Seve

The beautiful world that is present around us cycles into a blur. A bird's chirp, a single leaf floating in the air, light separated by shadow, all become overlooked or unnoticed. The most natural events producing small wonders should always return feelings of joy. Connections need to be re-established. Day Trips is the sonic leverage to help experience the true world once again. Pristine nourishment in aural from, encouraging perception of evolution's time weathered details.    The earth breathes and Endurance transcribes this energy with patient sonic clarity. Day Trips holds three pieces totaling around the forty minute mark. Beginning with "Sleep Timer", serene ambience is juxtaposed with occasional flurry of insects wings, the gentle creak of time passing, and distant echoes of a faint woodpecker working for sustenance. The soft tones in the background fill the reservoirs of dreams to come. The second track, "Dream Prep" flutters in the currents of subl

08/24 is the date artists GT and PK first heard techno music at the local Tower Records in San Gabriel Valley (SGV), California. This body of work is their recognition of this monumental event. Nine tracks blazing through raw beats, diffused with a touch of industrial and hip hop. The pace SGV starts off with is constant from start to finish and even seems faster than the early techno music of that time. Raising an interesting question, what year was the first impression set and who were some of the bands that sparked the interest in this genre?   SGV is nine tracks, all named with numbers. The numbers corresponding to the beats per minute? At least the first three fall in the techno beat range with the lowest being 111 and the highest 133. Not sure what the fourth number is for? One thing that is not so cryptic are the sounds. This is a straight forward driving assault. Everything seems hinged on a slight decomposition of the sounds from that era. SGV is not polished, but rather vinta

The sun's radiant energy reflects from a softly moving water surface. Small ripples providing perfect motion for a sparkling spectacle of light. The wind picks up causing the surface to become rough and steal serenity away for a moment. On the third release by Tristan Magnetique, listeners are treated to sounds from a Casio CZ101 in the most sublime fashion. A strange breeze of music noir ushering in and billowing away these synthetic sagas. The heart of these sounds are like a lake or inland body of water, an expansive aural dance of sonic radiance reflected in mesmerizing splendor. This is composition is simply titled 3. Two selections divided almost equally in over thirty minutes of melodies. Tristan Magnetique takes twisting notes and weaves them together to form unique strength. With a wisely subtle command of the keyboard, Tristan Magnetique is like a modern Virgil Fox. In today's appreciation of music, listeners look for these releases to lead the conscious away from cac

Timeless currents flowing in undisturbed pathways while civilizations have come and gone. The energy that makes everything continues on. The sounds of Oberlin mirror these thoughts. Creative beauty finding music as a vessel, beats and rhythms eventually leaving at light speed, the beginning has circled around. Now the instruments used to explore vast distances are left in dusty deterioration. Oberlin gathers what still can make sound and coerces the ever flowing sonic beauty through them. This time, guitars, pianos and recorders are not pushed to play faster and more technical, they are simply conduits for a natural energy that has existed long before. The most natural and simple beauties are built upon fallen high towers and broken walls of glass. Oberlin explores the aftermath, altered aural landscapes growing sonic vines on crumbled dreams.   Oberlin is the project of Alexander Holtz. His composition titled "Grauer Morgen, Ungewisse Bilder" is one of the later offerings in

Thresholds of sound and creativity have been unearthed by the Baltimore, Maryland label sPLeeNCoFFiN.  7 & 7 : VOL. 1 brings together four artist working in the sonic noise nexus, a place where transcriptions of the consciousness are perfectly conveyed. The creative mind imprinting momentary passages, thoughts transformed to sounds, here for an instant then retreating away into the cosmic nebula. The unity these artist share is most perplexing, similarities and differences so interwoven together, all describing the same place, just in their own version. Fortunately sPLeeNCoFFiN has recognized this commonality and acted upon it. The label has gone equal distance in preparing and sharing these far sonic reaches with a format equally as delicate to achieve. This release is housed within vintage seven inch reel to reel cases. Tape reels gone and replaced by two seven inch vinyl records, each side devoted to one of the four selected artist. The cases have been beautifully recovered fron

When time slows in the dark early morning hours, nocturnal sounds edge their way into thought spaces. This special period of each day is free from the turbulence and commotion of subsequent hours. Humidity settles in. Cautious beats and rhythms finding sustenance in the tranquility of the consciousness. The listener hearing the true beautiful depth of Greyon Greene's sounds when distractions and responsibilities are at minimum levels.    Five tracks covering over seventeen minutes in time. The label mentioned this is an EP, and since the feeling to hear more is what your left with, this is a good description. Humidity is composed on a desirable sonic curve. The beats and rhythms of the first three tracks lifting off to leave almost a drone presence for the last two and longest selections. This makes the opening sounds from "Square Rush" and "Slagin Judys" the upbeat gateway into Greyon Greene's ambient drift and also completely gorgeous. Lost in a Sea of Sou

On approach to touch down in a new land. A place filled with vibrant greens and sparkling blues. The energy here is natural and thick. Depths in any direction would seemingly take a lifetime to truly understand. Looking and listening is a majestic end glimpse of undisturbed evolution. Music is one of the true products of this higher vibration. Sounds bringing the spirits who have passed and the souls to come in the present. Sonic energy connecting the pageantry of courtyards, solitude of firesides, haziness of dance floors and the rhythms of a universe yet to be discovered. Yes, this is a heavy description for a composition someone could label as pop or dance music, or any sub category thereof, but that is why we listen. Stop the five and ten second sampling and begin to hear.   Reaches is the project of Justin Randel and The Land is Kind is his newest composition to date. A sonic transcript of alluring perplexity. Beauty fills the opening track titled "Words Long Since Past"

Portobello Season begins with ceremonial pageantry, my son slides his ipods in shaking his head. "It's just a fun intro", the words reflect off an apple shield. Look standing over there, don't you see Sam Gas Can flickering into reality? Like David Haskell's portrayal of John the Baptist in Godspell, Sam Gaskin winks with a grin as Gone Doing begins. Follow the words, "catch the wave, ride the curve, so the whole damn thing is a big blue blur". If Day by Day is a big hit, a six line chorus repeated over and over again, the song Gone Doing is like an atomic bomb. Maybe Sam Gas Can should have started off with "Frog Pond", lure listeners in.... nah Portobello Season is perfect.     Gone Doing pulls together fourteen tracks in just under twenty six minutes. With a skilled pedigree filled with lyrics, noise, ambience and beats, Sam Gas Can releases coming before Gone Doing, are a spiral pattern spinning and contracting. Music shrapnel like floating

An early morning drive. Beats and rhythms blur with rows of planted pine passing by the side window. Fog lingers near the ground as sunlight scorches its lofty reaches high above. Kneelin' on a Knife plays in the worn out cassette deck, the magnetic head's contact with the tape is not all that good. Sounds are a little blurred themselves from the physical transfer, but this only adds to everything congealing together to make perfect moments. Mezzanine Swimmers swirls and sheds sonic goo. Thoughts become saturated with melodic globs of decaying pop substance, the morning will indeed be good.    Kneelin' on a Knife spins quickly and disappears, five tracks under twenty minutes. Mike Green is the lone force behind all of the sounds. He approaches sounds with a reverence for nostalgia then melts it almost all the way down. Wise enough to know hooks are hooks no matter how rusted and distorted they are. The third track titled Leesburg Portal is the shortest and most deviated. Ap

The sky is low, the world below shielded from the sun's brightness. Nothing is exposed to the growing distant realm of satellite cameras and sensors. When clouds drag across the surface, a feeling of intimacy permeates emotions. Everyone in close proximity tucked under a blanket of settling mist. Like children, we create a small area illuminated by flashlights to read and look through fascinating subjects. In this instance, both Nils Quak​ and ​Flamingo Creatures hold our attention. They deliver the heaviness of a condensed atmosphere, the comfort of being secluded, with the warm intensity of prismatic aural delight.    Within this lengthy split, both composition's rest with mesmerizing nostalgia. The artists have created sounds reaching back to the early days of the cassette resurgence. Fully realized densities, pulling in orbiting electrons. The hidden immensity, a cosmos beyond the clouds or outside the blanket, resting in focal consciousness.    Nils Quak works towards a co