jueves, 8 de diciembre de 2011
miércoles, 7 de diciembre de 2011
Review: Hiroki Sasajima – Bells
Drones and tones are coaxed out of the rustle of field recordings in this 36-minute piece on Ahora Eterno
As the blur of tones mutates and blends between harmonic shapes, Bells changes from billowy ambient clouds into restless storms of noise, and then on into turbulent hums of microphone feedback. The presence of sound is a constant, but the atmosphere is not; one thing Sasajima accomplishes very effectively is the reconstruction of one landscape to form a juxtaposing one, and this 36-minute track is capable of feeling like music-centric drone at one moment and a toneless stretch of field recording the next.
Although some states are infinitely more intriguing than others. The combination of lo-fi crackles, phantom music boxes and deeply resonant drones during the first few minutes is a marvellous highpoint, only properly equalled by the rustles and soft murmurs that linger awkwardly at around the 25-minute mark. In contrast, the more explicitly “musical” sections (say, around 10 minutes in) break away into clichéd ambient harmonies, leaving Bells to gradually dissolve colourlessly into the air.
In fact, Sasajima seems to weaken once his stream of ambience rises into the higher frequencies. There’s a sense of resolve and freedom during these moments that renders the music without purpose, and Bells is at its most compelling when it rumbles and surges as though constantly fighting off the forces of gravity and silence. It’s here that the piece finds life and raison d’etre within the struggle and opposition.
miércoles, 20 de julio de 2011
domingo, 12 de junio de 2011
Written by Ignacio Tuxen - Bang at school when he was twelve years old.
viernes, 17 de diciembre de 2010
miércoles, 1 de diciembre de 2010
Another delicious cocktail of sound here from Ryan Connor under his Sublamp guise, and a superb introduction for the Ahora Eterno label from Argentina if you’re not already aware of it.
Wistful drones and melancholy drifts of sound combine to make a compelling, enchanting and deeply beautiful collection of earthy organica. Similar to his previous and outstanding work for Dragon’s Eye this has a knack of sounding imperfect, yet perfect at the same time… the occasional hint of dissonance, a clashing note here and there, but always with a melodious feel that swathes everything in a very human warmth.
Sometimes guitar-based, sometimes electronic, the music is often accompanied by natural sound recordings and, in fact, my highlight of the album is the utterly magnificent ‘The Hauntingshell I’ which features a heavy dose of field recordings. Wind and clattering metal meld together to create a mini 5-minute narrative that allows the imagination to run riot picturing exactly where the recordings were taken. I favour a desolate arctic environment, although I could equally imagine a desert-scape with windswept dunes and rocky crags.
Whatever you picture in your own mind, be sure that this album is a refined, tightly honed object lesson in expansive, yet subtle sound design.
Beautiful and at times stark, this really is a majestic piece of work.