Matthew Florianz – Los


Los

Matthew Florianz is one of the dutch artists I have been following for a lot of years now – together with fellow experimenters like Rutger ‘Machinefabriek’ Zuydervelt, the ‘Piiptsjilling’ (Kleefstra) brothers and Michel Banabila. 
It’s funny mentioning them together, because their music is quite different. But all have their own definite ‘brand’ that identifies their music, all work tirelessly on their music, and – finally – all get international recognition for their works’ quality.

From these artists, Matthew Florianz (who started recording as ‘Liquid Morphine’ around 2000) may be the one whose music remains most close to the origins of ambient music as defined by Brian Eno.
In musical style, I mean, not regarding the ‘generative’ compositional aspect of much of Eno’s music. Florianz carefully constructs his music, paying attention to the placement of every little detail.

Various Artists – Festive Greetings…


Festive Greetings

Okay: Christmas and New Year’s Holiday are rapidly approaching – you’ve probably already had your share of the End-Of-Year Top 2000 lists (full of unsurprisingly position shifts of headliners like The Eagles and Queen) – Your “Last Christmas” and “Imagine”  singles are totally worn out – as has “Phil Spector’s Christmas Album“? Even the ZE Christmas Record (featuring Suicide!) is not surprising anymore?  

Well, maybe it’s time for a slightly different approach ….

Enter: “Festive Greetings from Hibernate and Home Normal”  – and be prepared for some surprises!

Leah Kardos – Feather Hammer

Sometimes an album comes along that is difficult to define, because it doesn’t seem to conform to what may be considered as a single ‘style’ or a ‘genre’.
Albums like that usually take a few extra listens to definitely make up your mind, but they prove to be the more interesting in the end – they don’t easily fit the current consensus because they create their own style definitions. 

“Feather Hammer” is one of such albums.

Specta Ciera; Sense; Pleq + Lauki; Ujjaya; Sequence 2

In the Shortlist sections, I will mention some of the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I think they deserve your attention: use the links to find more info and hear previews.

Underpass

Specta Ciera – Underpass
Specta Ciera is the pseudonym for sound designer Devin Underwood from Cambridge, MA. “Underpass” is the latest in a line of 15+ releases combining ambient drones, field recordings and avant garde electronics. The four tracks on this (FREE) FeedbackLoopLabel release are warm, immersive and slightly dark. (In fact there are three tracks, because the title track returns in a Darren Harper mix). This great EP only scratches the surface of the compositional style and approach Specta Ciera employs, so it may be a good starting point for checking out his back-catalogue.

sense - selected moments

Sense – Selected Moments Vol. I
With his vintage synth sounds, Sense, aka Adam Raisbeck, brings back “the golden era of 90’s ambient music”. The sounds are beautiful analog, but the music itself is far from ‘retro’. The compositions are warm and nicely balanced. In Adam’s own words: It’s about selected moments of my life over the last 5 years and consequential realisations from looking at those moments individually it’s about change and growth its about opening hearts and healing. My ultimate goal is create an interface via my music whereby people listening to it will totally feel what’s happening and understand what I was feeling at the time I was making the music, it’s something that is to me – beyond-sonic.”

Michael Gordon – Timber

To some, waves on the shore, leaves from a tree, flames in a fire all look the same.
Others can stare at this fractal beauty and find Zen-like peacefulness in the fact that this ‘sameness’ is just an illusion, because every single detail is different – and no single detail ever occurs twice. 

Michael Gordon‘s “Timber” may achieve the same effect in sound.  

“Timber” is scored for six “wooden 2x4s, each cut into different sizes, giving each one a slightly different pitch.” 
Called a “simantra“, this percussion instrument was first devised by composer Iannis Xenakis.

Looped Exodus – The Near is Ending


Looped Exodus

Although ‘outsiders’ may think otherwise, ‘ambient’ music knows a lot of different musical variations. Referring to ambient music as one single genre is a bit like using ‘world music’ as a genre definition for all kinds of different ethnic music.
 
In fact, ‘ambient music’ is a rather undefinable collection of sub-genres. It ranges from deep-listening drones via eno-esque generative music to dance music and dub-techno, from acoustic improv to post-classical string ensembles, from 70’s cosmic psychedelica to new age tribal music.

The Near is Ending”  starts with a deep droney track, but then continues to combine some different kinds of electronic music to a surprisingly well-balanced album.

Kleefstra-Pruiksma-Kleefsta – Deislieper

“Deislieper” is the third release in what I like to call the “Kleefstra Wire Trilogy“.
In fact, there’s no real ‘trilogy’, but three separate albums that were presented by three independent labels on one single advertising page in Wire Magazine: “Wurdskrieme” (on Experimedia). “Tongerswel”  (on Home Normal), and now “Deislieper” (on Hibernate).

“Deislieper”, by the way, is a Frisian name for the nightjar and literally it means ‘day sleeper’

Rooted firmly in the improv scene, core members Jan (poetry) and Romke (guitar, effects) Kleefstra never work alone.
With Piiiptsjilling, most of the contributors were Dutch fellow musicians (like Rutger ‘Machinefabriek’ Zuydervelt, Mariska Baars, Chris Bakker), but soon they also started playing with an international cast of musicians like Peter Broderick, Nils Frahm, Greg Haines (on the Seeljocht project).
Tongerswel presented their work together with saxophonist Gareth Davis, and now Deisleeper features the incredible percussion music by Sytze Pruiksma.

Chris Watson – El Tren Fantasma

There is, has been and will always be, a lot of debate about what “ambient” music is. Whatever you think of that, the word definitely has ambience in it, so the music will probably have something to do with the atmosphere of your surroundings. 

Closely related, yet still an entirely different matter, are what we call Field Recordings, and/or Environmental Soundscapes. 
The first strive to record environmental sounds as closely as possible to its origin, the second add an emotional  dimension to that recordings by deliberately manipulating these recordings into a soundscape. Which, inevitably leads to the discussion about the moment when sound becomes music.

Chris Watson is one of the very few real masters of this area (which might be a lot more challenging than you’d suspect). He was one of the founding members of Sheffield’s Cabaret Voltaire and the Hafler Trio, and started another career as a television sound recording engineer in 1981. 
Recording and documenting natural sounds, he has also specialised in assembling these recordings to fascinating soundscapes.
Most of his memorable works have been released on the Touch label, that recently presented his latest masterpiece: “El Tren Fantasma” (The Ghost Train).
And after listening to this album for quite a few times, I can easily state that this is certainly one of the most impressive soundscapes available.