web site reviews
CD reviews >
[ The Audible Still-Life : Sonic Planar
Analysis 02 ]
[ Stasisfield : Year 01 mp3 archive CD
[ Sonic Planar Analysis :: 01 ]
Magazine, February 2004
SONIC PLANAR ANALYSIS 02
by Dan Warburton
Released as a companion document to the online exhibition
Stasis_Space, The Audible Still-Life is what it bills itself
to be, a powerful document of early 21st century cross-disciplinary
art. Released in a limited edition of 250 (move fast!),
the CDR features contributions from 17 sound artists - the
longest clocking in at 4'45", the shortest 2'10"
- including Stasisfield founder and curator John Kannenberg.
"Still-life" probably conjures up images of rotting
apples and half-empty wine carafes in dark, musty Victorian
parlours, and while some of the tracks are suitably claustrophobic
(the sound-producing material itself becoming the object
of attention on Jeremy Boyle's "White Noise Generator
Circuit", Neil Jendon's "VT-37" preamp, and
Ethan Koehler's "Stella Remembers", sourced from
an old Atari 2600 VCS..), many use field recordings to open
up the listening space. Sometimes the sound sources are
recognisable ("Okuru" by Koura, aka Chicago's
Brian Labycz, was partially recorded in a Japanese post
office; Glenn Bach's "Phye", a sound picture -
both interior and exterior - of the artist's home base in
Long Beach, CA, comes complete with traffic noise and seagulls;
Milwaukee's Jon Mueller finds much to wonder at in his domestic
furnace and Germany's Malte Steiner has as much fun with
his radiator) - others remain tantalisingly mysterious,
notably the track by Plank (whose title I won't attempt
to type out), and Hal Rammel's "Highway Construction
(in action)", which certainly sounds nothing like what
its title would lead you to expect. For his own still-life,
Kannenberg set up a Heath Robinson-like experiment in which
water dripped onto three different surfaces, a bowl of sand,
a heated pan, and a bowl of Pop-Rocks candy, though if he
didn't tell you you'd never guess. Cavernous reverb is orchestrated
into almost technoid volleys of activity, which sadly fade
out all too quickly at the 4'14" mark. Funkier still
is Trace Reddell's "Eliot's Magic Lantern", which
orchestrates a reading of poet T.S. Eliot and a MIDI-transformed
text culled from De Quincey's "Confessions of an Opium
Eater" (it says here). Several pieces not surprisingly
zoom in on the microscopic world of sound: James Schoenecker
submits a grainy drop-by-drop dissolution of a sugar cube,
and John Hudak concentrates his attention on a patch of
grass in his garden (though, like Morphogenesis' Michael
Prime he processes sounds beyond all recognition), and much
of the music is hauntingly evocative: the found film soundtrack
of i+o's "The Dead Air Spaces", Sawako's "DD
(Dream of the Dog)" and Emanuela de Angelis and Andrea
Gabriele (aka Mou, lips!)'s "5 Arance su Tavolo da
Gioco", which is apparently based on the theme of food
but sounds more like Rosicrutian-period Satie as remixed
by Pimmon. Steve Roden, something of a past master when
it comes to audible still-life, closes the set with a mysterious
intonation of titles from his bookshelf, and processed recordings
of the ambient sound surrounding it. It's a mysterious and
beautiful conclusion to a superb and highly recommended
Weekly number 395, 29 October 2003
THE AUDIBLE STILL-LIFE:
SONIC PLANAR ANALYSIS 02
(CDR by Stasisfield)
by Frans DeWaard
Stasisfield is one of things that we
have in which we can see the importance of internet: a webgallery,
a record label and the possibility to download music. Their
first year is documented through a CDR that holds no less
then ten hours of music in MP3 format. There is also a new
compilation, which is the audio companion to an online exhibition
at Stasisfield, dealing with still-life's. A still-life
is usually not a very interesting painting, but it's not
Stasisfield's idea to ridicule that, but 'this project serves
rather as the beginning of an exploration of still-life's
relationship to today's artists who work in a manner beyond
simple two-dimensional representation of three-dimensional
objects". The audio-works on this release (seventeen
artists in total) are all made with manipulated samples
of field recordings. Real, rather than still-life, but captured
as it were, frozen in time and altered, reproduced, like
a real still-life. Nice short pieces of manipulated sound,
in fact it's hard to detect any sort of field recording
in most of these pieces. Processing has done it's work to
quite some extent. Included are well-known names - well,
to some, I guess - like John Hudak, Steve Roden, Sawako,
Mou Lips! but also some I never heard of like Koura, i+o,
Trace Reddell, Schoenecker and Ethan Koehler. What I liked
about this compilation was the relative shortness of the
tracks. The longest is 4:44, so all these people keep their
pieces precise and to the point. A relief, compared with
some other overlong compilations... (FdW)
to top ]
Etc. June 2003
Various Artists :
STASISFIELD: Year 01
by Jeremy Keens
This issue is a label overview – with
a bit of a difference: only one cd is reviewed. But, there
is over 10 hours of music on it – which represents
everything the net-label released in 2002.
Which raises the question – why buy it when it is
all available free on the web? To which I can suggest a
First of all, it isn't any more – Stasisfield have
archived the files.
If you have a slow (or no) modem, it gives you access to
the music (though ordering is on-line, so we assume access
You can catch up in one go.
You will value it more – one group I have had contact
with are averse to releasing via a web-label as they feel
people have more respect (is probably the word) for real
things they have paid for. As the amount of web material
increases and the use of MP3 players grows this is probably
changing – but I know that I listen to things in different
ways. I have collected hours (days actually) of web-music,
but can only really listen on my work computer, so haven't
given most of it the attention it deserves. (For this review
I decoded and burnt the releases so that I could listen
in more places).
Speaking of that, where possible the bit-rate has been improved.
You get the full web-site, so you have the covers and details.
There is an un-released piece.
Plus you are supporting the label – and $10 is next
A good site that was pointed to me by M K Krebs is http://www.rowolo.de/labels/index.html
which lists all the labels I have come across and more.
This density is the main reason that I have eschewed reviewing
web-labels recently: getting things in real-form like this
Stasisfield set (or the Slapart compilation last issue,
or the fal.sch collections) is different, and I would recommend
it to web labels.
As an overview, this will be somewhat more concise I hope!
The opening piece, by three Js, including John Kannenberg
the label maestro (with Ethan Koehler, James Schoenecker,
James Warchol), is from an installation about life and memory.
The main track, an excerpt of 30+ minutes, is a shifting
space of fast voices, children crying and laughing (musically
modified), buzzing, thumps, snatches of music, other sounds.
It drifts and flows, building to more active phases (a choral
industrial site, for example, that is briefly remembered)
then relaxing. An almost sub-aquatic feel, you are immersed
in its hypnotic depths.
What is especially interesting are the five
short pieces – birth, childhood, adulthood, death,
haunting – which are samples from the basic files
that aleatorically create the longer work.
Capricorn One: Panopticon
This is described as 'an ode to Dr Who' – but as someone
who remembers seeing the first episode, set in the junk
yard, who has fainter memories of being frightened by Quatermass,
and definitely remembers queuing to see Dr Who and The Daleks
which gave us the opportunity to see them in colour, I must
say that other than track titles like 'Castrovalva' I was
not reminded of the series or the wondrous Radiophonic Workshop.
BUT what we do get is a tasty album of fairly beated melodic
'Time and the relative dimension of space' opens with some
musico-soudeffects with analog tones underneath, dominating
the second half. Fast pattering beats in 'Eye of harmony'
has a slow futzy synth melody, with a light tone joining
later. In 'Mandragora helix' there is a pulsey twangy loop
that echoes shifting left and right, echoed in other tracks,
tones creating melody snatches – the rhythm returning
in 'Auton' with analog blurts and echoed fragments. Throughout
the rest of the album there is an ongoing mix of beats of
various types, analog synth, echoes and melodies, occasionally
getting edgy as in 'Androzani major'. 'Skaro' has lots of
metallic tapping and strange whooshing music, easing and
rebuilding while 'Panopticon' closes with lovely harmonising
As we work through the label, it will be obvious that this
is more rhythmic than most of the works, which allows Kannenberg
to provide us with a fine range of music.
John Kannenberg: Aero
This is a suite of 12 pieces – connected in a variety
of loose ways. A number of them feature a washing sound
of cars passing in the rain, and other samples appear throughout
(thunder in 'Ascent', a beach in 'Pteron', breathin 'Aether
II') and there is an overall mood which struck me as wistful
nostalgia or melancholy. They also reminded me of Eno's
'Music For Films 1 and 2' in construction – a collection
of short pieces each exploring a theme – and musically
The 'Prelude' introduces the wash sound and adds a processed
guitar, pulses and site sounds and the 'Ascent' which is
more abstract, like most of these images, where a rhythm/bed
is established – a deep scrape rumble – little
echoed ticks and then a varying four note extended tone
sequence, thunder rolling over. A bouncy sample loop runs
through 'Pteron' building speed in steps with the crunchy
sand and gull sample with some synth squiggles.
In the 'Aviary' a percussive shimmer loop jumps from speaker
to speaker as various bird sounds (warbling, squeaky and
ringing) ply through together with a sine tone. 'Aether
I' pulses percussion and popping chitters with soft long
tones which really brought Eno to mind, as a keyboard melody
wanders through. There seems less structure to 'Scope' as
high tones noodle, a deep echoed rhythm pulses and other
sounds intrude, and then we get the powerful movement of
'Airship' with jumpy keys and swirls.
Insects chitter lightly in 'Contrail', a tone moves through,
then a scrape/hiss loop and hollow reverb, all spaced out,
the tone gathering, slowly. More space in 'Front' tooas
echoed keyboards, crackling and hollow scrape build. Big
washes jumping and clicks form a 'Torrent' before a variation
in 'Aether II' which is more languid and finally the title
track. A machine rumble, the wash and then a return of instruments,
a piano-keyboard to the fore, the car wash, and the fade.
A strongly gathered group.
Phluidbox: The Muse And The Product
Another more rhythmic work. In 'Pillow' rhythm skitters
across the sound space with some notes. A tock added, ripples
and light tones; a pause and then back fuller before the
fade. An extended silence opens 'Adapr' before poppy rhythm
with echoed key chords. About half way through a deep soft
phut and eventually a melody and some electro shapes before
a long silence ends.
'The muse and the product' abstracts angular rhythms against
an Asian-influenced melody, joined by a rhythm box midway
and some fast tuned percussion before easing back to the
odd angularity. Long wind-ish tones and a hollow bamboo
percussion in 'Whent' with a rubber rhythm and guitar sample
suggesting the Caribbean. Again a hollow melody that floats
along the shaker percussion and bass of 'Nupercs' gaining
a boppy rhythm and becoming looser and almost feral at the
end. There is a groovy Hammond melody line in 'Barter' along
with squiggles squelches and a bop-bop rhythm, perhaps some
talking in the background. And then 'Ice sands of carpet'
a lovely Asian influenced cycling percussion ending a very
Loam: Meditations (on ashKroft)
24 minutes of manipulated samples from Attorney General
Ashkroft who is described as 'the most frightening songsmiths
of our time' (as an non-US citizen I missed the references
first time round). The results are an extended droning rumble,
that builds, has choppy periods, echoes and stuck edges.
A noisier metallic middle before a softer release in the
expanded and stretched ending – all very dark and
brooding: and astoundingly harsh-ambient-musical given the
putative sound source. Comes with a short version.
Takuji Tokiwa: Four Tears
Electroacoustics inspired by the suikinkutsu, a sound device
buried in a Kyoto style garden.
The first movement opens with a schlobbledobble of swirling
scrapes and clunks, a buzzing grows and semi-string-synths
take over in tunelike note progressions that overlap, somewhat
chimish. A shuddering builds in waves with single tones
in, longer ones emerging over a watery base. The second
movement is 'provisional' (as is the fourth) and is a gradually
softening of layered high squealing ringing with a lower
hornlike tone, with a constant forward action.
A ringing Buddhist bell opens the third part, modulated
gently (sped up, slowed down) but with more and more intensity
until it becomes a buzzing, then slows to a rumble-whoosh.
More ringing to a more strident end, shimmering with more
layers of bells until a resonant organ develops, enveloping.
A carillion overwhelms it, becomes a drone but with notes
through. The final layers rich vibratos, pierced deeper
chordal notes, some a cleaner, and there is a great use
of sound space (as throughout). It falls away to a few notes,
rebuilds with some whooshing effects as a watery rumble
develops under, building, a twanging buzz swells, climax
and light fade.
Jonas Olesen: Dis_published
Ten short pieces (all less than 3 minutes) selected for
this release by Kannenberg, provide a sequence of varied
A delicate musicality to 'Winters morning' as clicks birds
and insect (though probably electronic) over waves of soft
tones. On a boat drifting we hear strings, paddles in the
water, soft horns peeps and ratchets of lines in 'e-ror'.
Very choppy pulsing tones and organs bouncing echoed coming
and going in 'on_hold', to a flight of bees in rain as crackles
with stretched tones under, beeps from 'clan_clan'.
A dreamy string wash, buzzing chitters over, pulsing smoothly
through 'exhibit room', then a musique concrete of machines
phones drills tones buzzes after a crack wakes you for 'klartone'.
Slow deliberate looping of clicks and other rhythms, high
tones over are 'shell' before the fast puttering tone samples
at various pitches that jump randomly through 'file conversion
#3'. Shimmering layered tones sing in 'dispublished' as
faster tone pops and puttering emerge and finally a distorted
calliope from 'homemedia overlay'.
The ninth track suggests where some may have come from,
but this is like a small auditory gallery we can wander
through and imagine with the short pieces we hear.
Carlo Genetti: Grain
A single short piece – a female voice, looped phonemes
that can be deciphered, and develops into a sentence that
just about makes sense, painfully stuttered looped and strained
over. A haunting Dadaist piece
Musique concrete created from recordings in Seto, Japan.
In the first a brushing, wind and pebbles come in bouts,
a scrape bowl, reverberation, animals and people –
chopped and shifting but becoming more stable.
A darker mixture in 'ii' that starts with wind and whispering,
little echoed noises and birds – a high ringing tones
pulses notes with water or motors below – the noises
diminish and the garden returns. A noisey motor in 'iii'
with the natural sounds under, at times purring becomes
very quiet then a buzzing and we emerge into a busy city.
The urban sounds continue with people in a shop, noises
around, crack and pops, a deep rumble develops and continues
when the people fade, in the distance music, light crackles.
Finally traffic whooshes, loops, door sounds – rhythmic
layering. Train rattle, voices, white noise pulse-loops
rhythms, drops and fade.
A complex vision of Seto, which the recommended earphone
listening would extract even more from.
OK Suitcase: Minus One
The first track is a shifting piece of synthesis, moving
from organic crackling dits, a humming drone, tocks and
pulses, echoed with a deep throb; the crackle drops and
tings and the deep tones ply with an increased cycling ringing,
swirling and tonal play dor a period; before splashing whooshes
and fast beat enter and the other fades, water bubbles with
little music behind, again for some time this plays around
then a pulsing beat and brief metallic scrabble and the
music makes its way back; it futzes, then crashing and shimmers
to echo fade.
The second track is more static as glass or string-like
loops and delicate sounds are lightly modulated, phase shifting
and deftly touched with some very soft under-rumbles, to
Reliable Sound Products: Uh-oh Machine
Three quite different directions from this duo. 'A list
of things not worth doing' opens with putters and swirls,
possibly some voice, and then adds tinny strings (Chinese
or guitars), chopping and degenerating decreasing speed
and density of clicks and tones. There is a suggestion of
speech in the structure of some of the pops; scrapes and
twangy wind, a pulsing tone that slides and swirls. The
track starts to wind down to a soft tone and chitter, rebuilds
with various putters and tones to become quite active, incorporating
some weird voice-squirls as it climaxes..
After that more complex piece, a couple that are more minimalist
(and are by each member of the duo). Neil Jendon's 'Evaporated'
starts with a fuzzybuzz and a growing drone which seems
to contain notes. There is a rattling, rather like a train,
and a high tone emerges. Crackling buzz takes over and then
a new warm sine tone with harmonies builds, popping and
then some pulses. The train flapping is back before a long
tone fade. Then David McKenzie gives us the deceptively
simple 'Simoon' where a steel guitar (it could be a sitar
or some folk instrument) that picks out a melody, while
drones (a wavering high one and a more constant one) ply
behind, quite captivating: a strange clicking gives a slightly
Ian Simpson: Seite
Described as a 'soundtrack of exquisitely crafted drones
for an installation' this set of three tracks are and beyond
– they are more active than the drone moniker suggests.
'Seite 1' plies febrile tones with deeper and hollow more
sustained notes, long and layered. A pulsing and subtle
crackling develops, then slow spirals, putters, radio whips
congregate. It has become busy, a high ringing, active and
swirling the high drones surround you, a flock of birds,
softer tones return before winding up again to a high tone
and ringing fade. Perhaps a little less active in 'Seite
2' when a soft fuzzy ringing gets pulsing and the intertwined
components vary in their intensity and volume, weaving through
each other. A spacey feel as high whoosh ringing slides
in, voice tones, long rising and falling drones becoming
quite intense before moving back to a more hollow chuffing
into the phade.
'Seite 3' is then gentler and more restrained as a soft
ringing whoosh and gentle voices layer. An organ bounces
through, then some gongs and bells, and there is a ringingness.
It almost disappears but recovers a couple of times, almost
as if the voices in there were breathing it in and out,
but tones eventually take it out.
Sawako: 3 Stories
Due to contractual obligations, a single short track of
delicate drone, piano and site sounds
Josh Russell: ub_cus
Three tracks on this full length album, each a varied and
shifting work. 'I can fly but I can't breathe' opens with
the dramatic quiet of high tones, sine pops, crackles shifting
and weaving, then a new crackle, longer tones, layered honking
visceral, then finally slow contemplative, pulses with chimey
music. Just over 20 minutes of slowly plying delights.
Movement through 'Various remote controlled…' with
warm tones, clicks, rhythmic, a brief scraping, easing to
a light dancing. A judder joins and deep tones – lovely
drift dance. Noise and volume start to build, pulsey edge
distortion, dropping rapidly to a soft humm, then reconstructs
with complex of clicks, horns to a rhythmic crackling fizz
pulse. This continues in 'For mike mccurdy' as a new tome
plays over the crackle, metal scrabbles and spacey pulses.
Big organ tone, scrapes, a shop bell, a hollowness. A tonal
buzz takes over, drops as cycling patter, tones and putters
cycle. Insect flutter and chirrup as light harmonies build,
peeps and pings build with a humm, scissors cut paper, parts
fade as a xylophone enters (some resonant notes, other dead).
There are water sounds under, and they lead the fade with
other sounds floating over.
The descriptions may not suggest it, but this is an intricate
and controlled set, that draws you with it.
George de Decker: Le citta invisibili
In a series of releases which are all impressive, this one
is the most surprising and startling – a manipulated
chamber piece (with broad orchestration including piaon,
strings, trumpet, clarinet) based on Italo Calvino's book
about the many faces of Venice. It combines classical sounds
with modern techniques.
The first view has an echoed hollow drum, drones and strings,
horn pulses. Appropriately for the city it pulses and waves,
word in a soft clatter, piano and a rolling tone as a Gregorian
soloist sings in loops, solemn and doomy. A world comes
to Venice in the second part as a Native chant (possibly
Amerindian) is accompanied by horns and a parallel choral
We hear empty streets in the wind and slow woodwind tones
of the third part, building but restrained, percussive as
tones build as strings enter before a full liturgical singing
over water sounds. Which continue in a swirling site-suggestion
of four, clarinet and strings while a woman sings –
either crying or laughing – the clarinet puttering
out over the water.
A lute, which has been prominent throughout as a classical
Italian instrument, plays with long organ tones. A doom
rumble, while a singer performs in the rain, with strange
rhythmic/melodic voice loops and guitar strikes. Boatmen
call, crackle and scraping, soft melodic choral and older
female singer. Layered clicking ending on a voice drone.
A mad dance in 6 of fast voice loops, jingly percussion,
scrapes and clattering sites, strings. Our final view of
Venice is a more dignified Carnivale building over distant
horns, calls, voices, a dancing violin, deep chants. Fading
to a gentle strum, deep tones and an Enya-ish voice, drones
and horn into the night.
Strikingly different and worth the entrance fee alone.
Jon Mueller: A Wooden Bicycle
Percussionist heard on Crouton releases, here gives us five
minutes of a building pulse of twangy clicks that deepen,
there are squelches. Bells start ringing – like door
or bicycle – at different pitches, coming in bursts
that increase frequency till it becomes quite sustained
with clashing cymbals.
Schoenecker: Live In NYC/open air/19.05.02
The auxillary label is for live pieces (there is a J.Frede
one and a Loam EP already for 2003). This is a three part
laptop session, though the parts are a little arbitrary.
It starts with phuts clicks little-high-tingles (varied)
that build and create a nice moving rhythm. There is a spaciousness
and great use of the sound space. Fast patter and squiggles
lead to an increased density and volume, rhythms within
It gets faster, with a deep rumble, easing back and then
rebuilding with a purr. Putters and high pinglings with
a futzy pulse and some almost-chimes, somewhat noisey before
the third part builds again, with some quite piercing tones,
some deeper aspects but driving along before suddenly dropping
Glenn Bach: Incidental Music
A twenty minute piece that moves through various states
– moods and methods linked together. From buzzy ringing
layers with clicks to soft rumbles and pulses, analog blurts,
machine cycling with rumbles, minimalist scrapes, very quiet
whooshing high pings to a fade.
A diverting incidental music – changing tableaux that
shift and interest.
Palimpsest project V.1
One 'danger' of MP3 availability is people sampling and
using your material. A number of sites have got around this
by promoting an exchange/manipulation project (Foton Osaka,
Microsound Bufferfuct and more). Stasisfield does it with
This is an on-going exhibition of visual (still and moving)
images and sounds. Version 1 (most of which is on this disk)
was the base from which the series is to develop, with material
derived in a number of ways. (Version 2 is already on-line).
Glen Bach's 'Round length of the room' is a woobly bubbling
synth piece, with deeper rumbles under, that slowly eases
to a modulating and moving tone, with a whooshing wind behind.
Two short pieces of noise from David Brady accompany his
art – crash screens from nintendo games (the sounds
are the audio interpretation of the files)
The recording and transfer of a guitar piece by Loam results
in 'Cassette hiss guitar' with crackling cable interference,
buzzing futz, blurting, rhythmic metal crackling and occasional
touches of guitar.
Em.Chia creates swirling and changing metallic/industrial
electro background from the web (apparently) that is laid
down for samples in 'Metaxological mourning methods'. The
pieces start with a Buddhist explanation that you cannot
try to persuade someone to Buddhism, range through a variety
of preachers doing that for Christianity, then an extended
speech at the repaired Pentagon before a final preacher.
I am not sure what the piece is trying to say – it
doesn't seem as random as suggested!
Koura provides 30 brief sonic postcards from across Japan
– industrial, meditative, city life.
Finally, Trace Reddell with 'Machinery for dreaming' a lush
layering of tones (some seemingly voice, including possibly
slowed) that comes and goes, swirls, develops clicks and
Two movies: 'Sinking ship' is a electropiece that develops
to sounds like a sax solo as images shift and pulse –
video games, block, a couple and more by Cosmic Locksmith–
while tAaron Hull's 'Clock'd' is a black and white work
reminiscent of the Bunel/Dali work or the video in 'Ring'
with a softly pulsing soundtrack.
J3: Industrial evolution: [sound + steel]
The unreleased track is a live performance, based on samples
of a sculptor (Gary Kandziora) at work in his studio. This
piece builds layers of sounds from clicks, echoed deep thuds,
rumbles and scrapes in a lovely organic looping. The artists
voice was also sampled for the process, so vocal loops and
fragments also pass through. The work ebbs and flows beautifully,
with a beaty locked groove section and some deep flowing,
and ends with an extended swirling slide.
A conclusion? An impressive first year – there is
much here that is beautiful, striking, thoughtful, provocative,
sublime. The range of material is undeniable, as is the
quality; and I think that this sort of venture will become
a major way for installation/site works to become more widely
available. It is wonderful to have such subtle and varied
Already this year there are the live ones mentioned, material
by Formatt, Mou Lips! as well as some label-stables that
continues the quality. Definitely a site to keep revisiting
– and supporting.
to top ]
E-Zine, 31 August 2002
Various Artists : Sonic Planar Analysis
by Kevin White
Stasisfield is a fledgling record label that,
until this release, has focused exclusively on digital music
in mp3 format. Their website attempts to provide exposure
to young ambient and experimental electronic artists, as
well as housing an interesting and rather futuristic art
gallery. The bottom line is, even though Sonic Planar Analysis
is the label's first physical recording, Stasisfield is
already quite established and experienced with presenting
and producing music.
Think of the tracks on Sonic Planar Analysis as the future
of background music. The pieces here range from subtle and
whispery, like John Kannenberg's "Contrail", to
loud and grating, like the previously unreleased "Echoes
of Madges Kitchen" by Psychiatric Challenge. But whether
it's flowing and aimless or sharp and explosive, each of
these ten tracks is an adventure to listen to.
Experimental or not, some of these selections are simply
dull, like Jon Irving's "Ariadne". I mean, come
on, at least Yanni plays the piano. But for the most part,
the pieces are at least interesting, as with the cut and
re-cut version of "Mediations (on AshKroft)" by
Loam. This is hypnotic, pulsating, mechanical outer space
music, best suited to more experimental tastes.
to top ]