lost in a sea of sound

When massive land masses like Pangaea split, new continents are formed. Enormous islands drifting off in their own directions. What was once part of the same base begins to develop separately from one another. Orua has followed this path. The Brazilian based trio of Le Almeida, Jo ã o Luiz and Phill Fernandes has traversed a beautiful aural pathway. These sounds have a feel of familiarity, anchors across time and genres, now blossoming with new psychedelic sonic arrays. Guitar, bass and drums seems to be the basic components of this group working tightly together, but these are only the roots of something fully mature. Saxophone by guest musicians on all but one track, a choir of talent is noted in the credits as well as additional guitar by more guests. Squeezed by the decades and caught between multiple genres, Tudo Posso oozes mind bending notes. A cool and chilled out affair almost all of the way through until the last track "Escola de Arte Moderna", erupts with a free

Sounds giving stability and asking for nothing. This is the connective aspect of all Peter Kris compilations. Portugal's OTA label with a double cassette release exponentially exemplifying this. The basics of folk styled guitar beautifully warped and resounding far into the future. Tracks playing against each other, from contemplative guitar pieces to mesmerizing electronic static, mandan / moroni has limitless extremes. Amazingly this immense diversity is bound together by the seductive gentle style Peter Kris maintains throughout all twenty five tracks. Experienced listeners have been long cultured in the world of innovative string melodies. Possibly to the point of blurring aural talent, the lengthy stretch of time between John Fahey and James Blackshaw is a good example. Peter Kris skirts the primitive guitar nexus with formidable patience that is slowly mined from dry desolate hills. And the sounds... bound in the geologic strata, gradually exposed era after era as an eon ac

On the island of Anthemoessa fibril exudes sonic seduction. There is no wax to fill the ears, the course now set to crash upon the rocks. The ship could still be scuttled, but the sounds of fibril flush these thoughts. Contemplation and feeling have emulsified with the subtle melodies fibril shares. Gentle then heavy, the aural surface changes instantly like the sea in an approaching squall. When the turbulence subsides, fibril lulls listeners back to the beguiling focus so effortlessly breathed out. This self titled composition is a substantiation of creativity and experience that has come before. Sounds changing directions from strong strands of fiber, a new branch extending out. Marcus Maurice is the natural ability that is fibril. More Eaze is the project most everyone is familiar with. How is fibril different? This is an extremely patient composition. Similar to the Sirens, once play is pressed these tracks call out and beckon absorption. The distorted sonic field clouding the s

Something special, rhythms of the inner court. Tones hearkening back to times of majesty and fanfare. The connection frays at one end, infinite sonic fibers fanning out, but if you follow it back.... Miniature concertos rich with prismatic arrays of distinct instruments. Sounds slipping in and out of temporal focus, sometimes tribal then melting into the depths of thought. The diversity is immense, but LIFE EDUCATION has a sense of pageantry, a motivation transcending all individual components. This energy connects the varying tempos and tones together. Music of the great hall, uniting those who revel in shared love and spiritual glow. Patrick R. Pärk has become a difficult person to capture with descriptive words. With lengthy projects as Kösmonaut and now LIFE EDUCATION, the amount of sonic moods Patrick has shared is vast. This cassette titled New Earth Assembly holds aspects of everything. Tracks like "Soft Tissue Damage", relate to the opening paragraph. Beats driving

Artificial Fairytales takes past decades of sound to most modern splendor. Roots of pop makings from late seventies, through all of the eighties, with conceptualization of future paths. This music is filled with dense bones of skillful artists. Alice Cohen at the heart with David Lackner and Adrian Night as The Channel 14 Weather Team. A trio melting together, smoothing musical edges to produce modern polished gems. Sounds finding places just past the time of artist morphing from folk to pop, and to the side of new wave and funk. Artificial Fairytales takes a special place, in the mix of musics many genres but holding a head above to be clearly heard. "Keep on Keeping on" definitely slices the groove straight away. The first track and only selection co-written by Alice, David and Adrian. The remaining compositions are all Alice Cohen and her glistening wanderings through glamours illusions. "Plastic Paradise" and "Thank You" scoot forward in time, connec

In the fabric of current society there exist corrosive forces slowly eroding the facades of quasi structure. Like termites in the walls, routine life continues as support is weakened in obscurity. Cop Funeral has unearthed this sonic flux. Mysterious harmonic oscillations surfacing with vigor and purpose. These sounds swell at both ends of the recording parameters, exposing frailties throughout. Metamorphosing drone with noise resting as it's end journey, cacophony on an encumbering trajectory to become beautiful passages. Lost in all the tracks, this is the best place to be. Pain is difficult to rope descriptive paragraphs around, these sounds blur with most respected delight. Transitions from electric energy to mesmerizing sonic sparsity, these aural pathways seem to cross in an infinite web. Listeners ploddingly spun in quivering cocoon, each track another rotation of mangled percussive fibers. Pain touches on early eighties industrial sounds, but very subtly. The diversity of

The mist of electronic sound fields transported across conscious mediums. Seeing things, hearing things, Charles Shriner and Adam Holquist deliver experiences hinged on the surreal. Sonic pools of drone dispersing vertically, like beads of water emitted from a plunging droplet, all in aural slow motion. This upward movement connecting to a real world towering above. Voices, rhythms, and beats intertwined with the base formations. Somewhere in the center, the collection of all thoughts radiates towards those who listen. As the composition progresses, a world of turmoil and commotion explodes, glistening puddles of sparkling drone now contaminated with rippling unrest. embral has been working together for a long time. Their bandcamp page revealing a collection of both digital and physical releases over the last seven years. Their newest release Deep State is constructed around two tracks totaling almost forty five minutes. The first track, "You're Seeing Things" sends th

Connecting written descriptions of sound to compositions of ethereal nature is a challenging en devour. As with all music we listen to, aligning our mood and feelings with the sounds being conveyed is most important. Mandarava Rose is special in this sense, after the first few listens the relationship was still distant. A perplexing concern since there is so much talent and beauty being revealed. Changing space and time, removing conceptions of what seems to make sense, basically allowing Natalie Rose LeBrecht to push the conscious margins in the direction she flourishes in, this is the method on the listeners side needing constant heightening. Fortunately we are graced with recordings like this, GALTTA and BLIGHT.Records are two labels that come to mind. Mandarava Rose is a teacher. Eight lengthy tracks dancing to enlightened cadences. Piano, flute, bells, organ, saxophone and of course vocals, all drifting in the mind's cognition. Sometimes the rhythms fall in place, the sounds

Something lurks. A sequence of tunes that slithers in and out of conscious grasp. A venomous strike is not the way. With years of experience, these melodic rings have gained the utmost patience. Upon completion of each track, thoughts unknowingly become more and more constricted. Ironically notes and patterns within these harmonies bleep and pulse like warning alarms. The heaviness is much too massive though, with each resuscitation another entrancing rhythmic coil loops around the mind. Sonic light dimming for vague silhouettes, hopefully they remain in the distance. Influenza 10 is a composition of sick tunes by Adderall Canyonly. A totally cheesy one sentence description, but it needed to be used. If you read the bandcamp characterization, this is a literal account. Adderall Canyonly, damp, underground and under the weather. With sparse amounts of energy, eight tracks were recorded and divided into a half hour. Adderall Canyonly's Tascam 388 was the work horse beh