lost in a sea of sound

A tether reaching into the emptiness allows exploration and discovery beyond the cosmos. Breath air, the vast expanse around us requires this function to survive. Listening to Within the Void allows thoughts to move beyond the space around us. A conduit of warm nostalgic sounds taking listeners to the flickering thresholds of all we know. Rodo is mysteriously seductive, ambience and noise holding hands, trying to lure each other over to their side. Flirting with genres from times past and extending beauty to future generations. This is sonic love for a world needing advanced tranquility.   Within the Void uses song titles as descriptive tools for the path these sounds might take. "Black Sea of Infinity", "After the Waves" and "The Void Within" are good examples. Interestingly, if you listen to each track and are aware of the title, the description Rodo uses is uniquely appropriate. "Puncture Wound" opens up the composition and listeners are immed

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