Wil Bolton, Benjamin Dauer, Savaran, Roger Martinez, Karl Verkade

In this “shortlist” section, 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).

Melt cover

Wil Bolton – Melt
Another great release in the Rural Colours subscription series, perfectly timed for the spring and summer season.
“‘Melt’ is a single long-form track of warm, overlapping tones created with a toy keyboard, a synthesizer, analogue delay and looper pedals, and some minimal laptop processing. Glitches and signal problems were welcomed into the process, shrouding the fragmented yet lyrical keyboard melodies in a gentle mist of fuzz, clicks and hiss.”

Saturation Event

Benjamin Dauer – Saturation Event
“..A series of explorations in tape saturation – that place where the audio begins to slightly fall apart – not harsh digital distortion, but rather, that warm and blurry type of analog distortion only possible w/tape (or tape emulation). As you listen, at times the audio in the lower frequencies might fall apart while the upper register remains crystal clear. On others you might not notice anything but maybe the slightest hint of added analog warmth.”

Akumu – Descent

Akumu - Descent

When music is described as ‘organic’, this will often refer to a warm, almost acoustic and almost  ‘live’ sound.
On “Descent“, Akumu (Deane Hughes, Toronto, Canada) has a different approach in describing organic structures in sound.

The basic material comes from ‘field recordings’ (but do NOT imagine birds or crickets here):
“based on field recordings captured within train stations, banks and other large buildings, these four pieces re-synthesize and reduce those grand structures into the infinitesimal — the real into the abstract.
“Descent” is the continuation of Akumu’s study of resonances and micro-sonics found in our everyday world.“

Loscil – Coast/Range/Arc

Although seemingly operating somewhat below the radar in terms of release frequency, Glacial  Movements  has earned their status when it comes to quality standards.
In the past, they released albums by Rapoon, Lull, BVDUB, Francisco Lopez (among others) – the future will see new releases by BVDUB. Pjusk and Thomas Köner.

Like the name suggests, Glacial  Movements chooses to release albums that thematically deal with vast, deserted (and mostly cold) landscapes:
“Places that man has forgotten…icy landscapes…fields of flowers covered eternally with ice… Icebergs colliding amongst themselves…” “Glacial Movements is a label born to describe and spread these thoughts/images through sound.”

Knowing this, it is no surprise that Glacial  Movements is the label to release Loscil’s latest release,  “Coast/Range/Arc“. It is a perfect match.

Antonymes – Like Rumours of Hushed Thunder


Antonymes

Shortly after releasing his beautiful album “The Licence to interpret Dreams” , Antonymes brings another sweet surprise.

To be honest – the REAL surprise was the extremely limited edition package as released on the Time Released Sound label, but you needn’t worry about that since this physical edition sold out within one hour. (Be sure to keep an eye on this label for future surprises!)

Luckily, the music from “Like Rumours of Hushed Thunder”  is still offered as a digital download, and this is still a treat, even without the special packaging to hold.

Siddhartha Barnhoorn – Pillars of Light


Pillars of Light

“Pillars of Light” is Siddhartha Barnhoorn‘s first full album, but it can hardly be called a ‘debut’.

Although relatively young (born 1981 in Katwijk aan Zee, Holland), he has produced numerous film scores since 2004. Producing over 50 film scores in the last five years (!), not counting documentaries, trailers, commercials and other project, he obviously is not afraid of working hard too!

As a fan of atmospheric ambient music (which is not a strange thing when you’re a contextual composer), he decided to create his own independent album: “Pillars of Light“

Various Artists – Kanshin

Kanshin

It’s a kind of a reviewers no-go to write something like “If you buy only two albums this year, let it be these”.

But in fact, if I could only recommend two albums to you, I’d recommend these two 2-CD compilation sets.

One is “For Nihon“ – curated by Keith ‘Goldmund’ Kenniff and his wife Hollie. This set has been available as digital download for some time, but I’ll be reviewing this later as I have to wait for the physical CD to arrive. 

The other is called “Kanshin”  and has been released this week. 

Both these double CD-set present an unbelievable array of contemporary artists contributing their music to help raise money for the current recovery in Japan following March’s terrible earthquake.

Enrico Coniglio+Under the Snow – Dialogue One

I first learned about Enrico Coniglio on the “Underwater Noises” compilation and from there found his fascinating “Salicornie (Topofonie Vol. 2)”, dedicated to the city of Venice.

Compared to “Salicornie”, this latest release, “Dialogue One”  is quite different: one hour of abstract soundscapes and mutually attracting opposites.

“Dialogue One” is a ‘split’ project with Silentes label artists Under the Snow (Stefano Gentile (guitar, field recordings) and Gianluca Favaron (field recordings, processing)).

Olaf Tonstein – Snow

Releasing a title called “Snow” not seem very appropriate in mid-may. But when the temperature rises, chances are you may need some cooling down…in which case this album may definitely help!

Olaf Tonstein is featured on about half of the (now 14) releases on the Klitorik netlabel (the one with the happy bees), and “Snow” is his latest.

Johann Johannsson – The Miner’s Hymns

Created as a soundtrack for the Bill Morrison movie depicting the disembling of the North East England’s mining community (the movie DVD will be released in june), this CD version is recorded live at the Durham Cathedral with a surprising cast of a 16-piece brass ensemble, church organ, percussion and electronics (the latter pre-recorded to catch the reverberation of the cathedral itself and use it in the recording).
No string section – in instrumentation and style Johannsson returns to the time of “Virthulegu Forsetar” (Touch, 2004).