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PEER GROUP “Igbo Basic Course” Cs (Rainbow Bridge Recordings, 2012)

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PEER GROUP “Igbo Basic Course” Cs (Rainbow Bridge Recordings, 2012)

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Another project of the multi project noise bandstander JML and label Rainbow Bridge Recordings, collaborating with Carl Kruger. PEER GROUP is chock full with dense, splattering whirlwinds of sarcastic electronic noise storm washes. this cassette has a raw, low fi crude shrink wrap encasing its clawing and unrelenting swashes of electronic chaos. About five minutes in a section of fluttering wet wood pounding around an abandoned shipyard comes to mind – the ship is sinking and the machines are fighting to the death. Violent analog rhythms clash and decay into squealing circuits; chirping, purging, burping, and pulsing- in “harmony”?, and often in opposition but never in a moment of boredom. Timing is key for me on this release, just as a sound starts to become uninteresting or too dominant in the mix, it’s swallowed up by an off-white noise wall, splatter choking sounds of globs of solder and failed transmissions coming alive. Tiny scratching sounds of a broken motor hissing and scraping- trying to bring itself back to life through walls of stuttering oscillators ticking at each other through nervous collage. Heavy handed autonomous electronic noise boxes belch crude distorted tones that swallow each other alive and regurgitate high paced, anxious electronic pulses and rhythms. At times, LOUD violent scraping, and others subtly random oscillator drone poem, PEER GROUP explores a dense sonic palette of squelch.

The latter part of the first half sounds like it could be “studio” tracks, but still boasts an affinity for a harsh low fi sonic screen.The mastering is in fact pushed to “IN THE RED” levels pwhich allows the tape saturation to act like a fine hair gel compression, gluing this chaos intact.

The b side begins with a quiet static flickering, combining resonating pulses, what sounds like branches breaking inside a reverb tank, with subtle chirping hums slowly escalating in the background. LOUD to quiet, to loud again. Layers of yapping distortion form a convex oscillator orchestra of babbling tones, fighting a war for a place in the mix. Layers of sonic sludge phase each other out and then an alarm sounds ; the mixer is on the verge of melting – and then it does, and you can hear it. The unmistakable sounds of circuits frying on loop regurgitating their own dead cells through speakers; it sounds soooo , comforting. Next , a quiet section is bread and gives breath to mangled voice ? Samples and a distant minimal pulsing , just clipping away on a distant plane, barely audible and then BZZZZZZZZZZZZZZZZZZZ a chopped in bass “doom note” changes the listeners orientation, and quickly escalates the mix from a symphony of chirping oscillators to a menacing caucophanou of disorientating hymns from voice ,noise boxes and malfunction, a sharp appropriate ending for a tape that builds and then destroys , through nervous towers of harsh squeaking and squawking. Xeroxed covers portray a shaky, hand drawn figure with teeth and eyes of confusion. The track titles and lengths really seal the deal for me with titles like, “STD Booth At the Occupy Protest” and “Penis Bleaching in the Google Era” who KNOWS what the motivation behind these sounds, though I would like to hear a proper studio release from this project. Check it out.

Decaycast REVIEWS: BAH, TSAR, JENNY, TROTH “Deft Auksis” cs (Rainbow Bridge Recordings, 2012)

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Decaycast REVIEWS: BAH, TSAR, JENNY, TROTH “Deft Auksis” cs (Rainbow Bridge Recordings, 2012)

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This tape is a bit confusing, not sure it’s a compilation. split, or what? But whatever it is , it comes out if the gate screaming with overblown tsunamis of undulated noise washes. Lots of high pitched distortion and what sounds like metal scraping bleeds together to a menacing climax and then it drops – AND TO WHAT ? Minimal keyboard swashes with a clear concise, punching yet sparse beat and drone pulse in the background. the track is given a whole new breath and the drums and reverb pings decay into their own spaces. A low, quiet background rumble creeps up from the ambient textures, slow and determined to climb to the top of the mix. Before the listener knows what’s going on, or off, they are immersed in a sandstorm of over driven droning fuzz, ripping and pecking at the speakers, as If the sounds are trying to rip out of the cones.

The aesthetic gears on this tape were switched back and forth so quick I could barely get a grasp of what was happening I found myself wanting more of that ambient, textured gem that was so suspiciously placed in the middle of the track : would it come back or just lost in the chaos storm of blended noise. The noise blends and barfs on itself , occasionally allowing other sounds and frequencies to escape but for the most part remains somewhat monotonous harsh noise. The amplitude stays more or less the same, and through subtle, yet stubborn modulations a VERY TINY sound swells up- and there it is again – THE REVERB PING ; A BREATH ; OF SPACE , just took over a swelling pus of nearly speaker shredding hell—- then click , the tape stops, just like that, leaving me somewhat unfulfilled and wanting more ? Not wanting more of the monotonous wall, but the experience itself, of not knowing what’s next, was the richest aspect of this album so far.

The second side opens up with a similar collage like wall of over driven noise blasts. ebbing and flowing through mid range dominant feedback pulses. Once in a while, it seems as If struggling, coughing voices are being squeezed of life, off so distant in the background, but the. sound is modulated in away which destroys the “voices” own anthology and scatters off into the mix like a bleeding hyena. The tape goes on with more crude sounding oscillators battling each other, with interesting and average results, but the difference in styles and the way these difference are mixed and blended is still the crux of this release; truly weird and different. The second side overall, is a bit more risky in the dynamic range, however it leans on the dense construction of an army of oscillators and noise boxes, blurping, their best and most intricate rhythms. Hand painted labels on the shells with a “surreal”/fluxus looking non sensical drawing on the cover in purple shells, which adds a nice touch to the yellow. An interesting and unique blend of slurply, wet, dense, and textured digital and analog sounds, but the harsh pinnacles of amplitude could stand to have some more dynamics to help stitch it with the more ambient section(s) , but by no means comes off as sluggish or amateur, just slightly monotone at times. A decently solid release overall.

RAINBOW BRIDGE RECORDINGS

Decaycast REVIEWS : ENDOMETRIUM CUNTPLOW “Growth Into Conbustion” c16 (Rainbow Bridge Recordings, 2013 )

Decaycast REVIEWS : ENDOMETRIUM CUNTPLOW “Growth Into Conbustion” c16 (Rainbow Bridge Recordings, 2013 )

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A short little blaster from California’s Endometrium Cuntplow, say what you will about this guy, But whatever you do , don’t say his name isn’t original. I first heard of E C about five years ago on a compilation that a friend released on Placenta Recordings, and the name I have never been able to shake from my head. Whatever it means, or doesn’t, it seems to go well with the sounds?? I’ve seen Dave perform on numerous occasions and it never disappoints, and I think this cassette may be a live recording? – or at least a very raw studio recording. everything about this tape is raw – the fidelity, the sounds , the composition , the artwork , and even the title – there is no frills here folks, just straight up harsh noise. E C sound could be a steady wall or a manic archetype journey through distorted and rough sound manic anthology, but this one is pretty monotonous and unchanging – but NOT boring. After a few minutes, the walls of dust and fiber begin to grow on the listener and induce a hypnagogic type state through the blasted out, distorted, whipping in the wind, dissonant radio transmissions. Endometrium Cuntplow leaves the superfluous  sounds at home for this one in favor of one long muddy , dirty drone of muck, no music, no melody just globs of thick feedback noise. Subtle tonal and feedback modulations ebb and flow occasionally through the muck, but a very dark monotone poem is layered out on this cassette ; don’t hold your breath for the “hook” or “pulsing synth beat” cause it ain’t here, and that’s just FINE. E C explores a  nice  sonic landscape with minimal  tools in the mix. Super minimal approach and presentation works well for this release. Look out for the artists visual work as well, under his name, David Lucian Matheke, which explores many visual and sonic themes through painting , drawing , installation , video and sound, top notch stuff

RAINBOW BRIDGE RECORDINGS

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Decaycast REVIEWS: NOLDOR : “In Woods of Elfes” CDr (Mandarangan Recordings 2013 )

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Decaycast REVIEWS: NOLDOR : “In Woods of Elfes” CDr (Mandarangan Recordings 2013 )

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This is written from not knowing what exactly was being listened to because I couldn’t really read the title and find any information on the band.

This first track I want to play  when I’m in a hot tub so it seems like I’m in the amazon with a burning typewriter. After being let go of the fire crackle and the insects you get trapped in horror film loop that builds and then perhaps you get murdered when it cuts abruptly to the jungle where we hang out with insects for a bit then we hit a calm pasture of slow reverbed hum, angel arpeggio -is this new age ?-or not- kind of fantasy, hall drift, feeling the LSD, kind of thing: and this is where I feel a strong echo of the cover arts influence on my interpretations of the audio emerging from the aesthetic of fantasy video game art emerging from fantasy novel art. Then we move into a highly produced buzzing  lull with a mega canned water bells sound waltzing to a lounge jazz drum i feel like Im in a grainy gray studio with futuristic mirror sunglasses that should have never happened.  By track six we are in a Disney movie rife with western boredom and I wonder when my fucking crumpets will get to the table and when this Game of Thrones episode will stop seeming like a Soap opera.  Everything turns pretty melodramatic and we’re nose deep into a piano sonata with a nice rolling piano riff that is played and recorded very well I can hear each hand, the bass line and high plinking melody in separate channels and the tapping of the foot as a throb that punctuates the rhythm. A violin sweeps through the piano riff climbing and descending and the recording gets cut off mid phrase.  Then we suddenly feel like we are in a BBC history channel documentary listening to casiotone produced rendition of Arabic Hip hop with big claps and shakers. Now we are back in Europe at a candle light romance with strings. Then we hang with some Angels, humming serenity but under a very subtle crackling distortion. Harps, some ohms and ahhs , I would like to hear only the clippy sounds and nicely delayed pinging bleeps and what sounds like a fingers quieting guitar strings being a subtle rhythmic element stray in the bleep loop. But i guess I have no choice but to hear the harp sound and the canned bells and then we just cut to silence and we will call that a wrap.

In some cases the artwork the album came in is a good indication of the content, we have some new age ambience mixed in with some banging history channel midi jams, some well recorded burning tape noise cooked field recordings of some wilderness, highly romantic soap operatic orchestrations that make me feel like Im shopping for jewelry. Probably good for an afternoon glass of wine if you buy dream catchers at gas stations, or if you play more than 3 hours of Dungeons and dragons-esque fantasy video games a day you can listen to this as you take a break and recharge with your energy drink and potato chips.

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Then I figured out the whole thing was based on and inspired by Tolkiens middle Earth and The Noldor meaning “Those with Knowledge” a clan of elves in Middle Earth. I couldn’t read what was on the cover .. is it Molden ? Moldon? Noldon oh its Noldor…. So fanatics of Tolkien may find this of interest.  This “In Wood of Elfes” (yes with Elves spelled incorrectly) shows some skill with programing and competence with musical phrasing, classical structures,and recording techniques. It could get interesting if they develop an interest in designing some individualistic sounds, toss in some danger, and learn how to end a composition.

http://www.mandarangan.com/

written by: Verbjieff

Decaycast REVIEWS :Kelly Churko : Transient Compared to Stone CDr (Mandarangan Records, 2012)

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Decaycast REVIEWS :Kelly Churko : Transient Compared to Stone CDr (Mandarangan Records, 2012)
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The CD we received in the mail wouldn’t play in the computer.

So I listened to this recording on http://mandarangan.bandcamp.com/album/transient-compared-to-stone.

1.History of Wind

A machine like animal greets us,  gurgling us in its throat while strings are plucked in the tonsils pattering through stereo space something scatters its scales down a hallway slow strobing, something rising stalling waiting lurching along a old haunted train ride in an abandoned park there is a lost child whose mother is long since gone and swallowed by the writhing machine.

The pulse fades and metallic brakes skate in and grind to a halt . A light ahead goes out. By the end of the first track you are sure that somewhere someone is in need of help or at least in need of being woken up from a fever dream thats torturing them.  Long ambient drone-scapes with scraped swells.

2. Keitai Casualty

Someone starts attacking you with a vacuum hose in the ear, throbbing demon grips  with convulsing rhythm and highly resonate screeching. Pummeling ear drum cleaning.  An elephant trapped in a rubber balloon is chained to the bottom of a swimming pool. Spaces slide out from stereo space, pulses mix and new interwoven rhythms emerge.  Digital bomb decays to blast a hole in silence. Full stop.

3. Outside Context Problem

A zippy stomp bounce crunches through razor sharp layers and fat pulpy chunks cut to stomp roll then we climb a cloud of impenetrable cicada whirs but find ourselves breaking through some barrier and slamming into a bouncy tom and snare roll rhythm. then abruptly thrust into high pitched ear scrubbing. Eye bulging blast. then spit into blast scape of maniacal power surges and almost train horn rhodes drones lain under blistering ear cooking. My ears are cooked. Raw. Exit on ping pong chirping .

4.Palette Fatigue

Giant pillar of Church drone is cooking under the breath of some lawnmower man squeegeed grimace rumbles.  The Church organ is tumbling through space wrestling with Noise sheets that give birth to a quiet plucking melody that then gets swallowed by a 6000 foot tall Tsunami wave scorch your braincells, but have no fear the Church organ is here to save you wrapped in noise stain.

5. I Cant drive

We are tumbling down a hill and see some godlike sparkling tone and then tumble out into a different plucking chirping space sounding like the batteries are dying in the space ship then a chugging sludge metal noise throb emerges with something sounding like tape warp manipulations fast forwarding to noise blast then insect night, a roaring motorcycle, back to the dirge slum chug accented by a high ringing percussion. A ping ponging doodle and spongey mumbling gives way to a pipe bomb in a toilet.

6.Flattening deceleration

A slow tone creeps in overhead and some soft shortwave-like radio fuzz undulates with the slow stereo wafting tones rising in frequency I see the ultra violet light and the flat long open space of a parking garage : A lower distorted throb begins to rise into the mix, I imagine the parking garage strobing and evacuated cars and silently screaming people flickering in and out of the evacuated garage. A bilging microphone ruffle bump sound makes me feel like Im trapped in someones pocket in the machine room of ship accelerating to light speed.  A digital feed back flutters and tenses all the neurons in my skull giving way SLOWLY to softened white noise when a big dirty synth churns and bubble through, we emerge in a slow whistling scream  traveling through the VLF spectrum—this is what it must sound like to be attached to a NASA Rocket brought up to the pinnacle of the Ionosphere and then dropped falling back to earth and being sucked into a ride through slowed down shortwave surfing. At 21:12 this track is definitely for an altered time scale. A meditation piece that crawls into the smallest places of your brain.

This Disc is for  those interested in Harsh Noise, rhythmic throbbing raw synthesizer blisters and intensely crafted sheets of scathing sculpted white noise mosaics. The first half of this disc is a well paced journey through finely edited varied noise throb spaces that happen just long enough before changing to hold your attention on well sculpted noise drifts pulses and attacks. The second half is the opposite: a slow melt through the frequency spectrum giving the disc a good balance. Coming in at over 40 minutes this is a pretty demanding onslaught of a listen but it rewards with lavishly sculpted blasts and psychologically haunting and psychotic spaces.

http://mandarangan.bandcamp.com/album/transient-compared-to-stone.

written by: Verbjieff

decaYREVIEWS : LOVE KATY “Cinematic & Dramatic” (Forever Escaping Boredom Records”

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decayREVIEWS : LOVE KATY “Cinematic & Dramatic” (Forever Escaping Boredom Records”

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LOVE KATY Cassette arrives and I am
Rather intrigued at the cover image and the non labelled generic cAssette shell – could be harsh noise – or ANYTHING really – opens up with a sample of a “shallow” “actress” ? women (maybe famous and I am
Missing it ??!) blabbing existential crisis bought at the store – Didn’t grace of the depressed psychosis holy dark unchanging unnerving militant walls love Katie Paine a cinematic nightmare of endless looping self-doubt a broken tea kettle off in the distance burns and boils; a subtle Wall Modulation; ie this woman on the covers personal Hell- over and inside itself – the sound of self doubt- an unchanging static wall – psychosis on and on and on; she doesn’t want a relationship just a career. A deep fall to the center of the earth with a failing actress exposes the underbelly of a corrupt and flawed facile of entertainment . Hope is being drained rapidly .

beautiful , minimal , relevant Cover art Which really emphasized a theme along with the titles and colored the wall in a nice way – only gripe (for what it is – and I am “particular” about “noise wall” –?????? ) is the tape was dubbed a bit on the quiet side – but this allows it to dip in and out of the categorization of “background noise” , which seems somewhat inseparable
From the conceptual framework and ethos of harsh noise wall and the VOID. Not the most interesting noise wall ever but then again – does it seek to entertain , alienate , or crush ?

order the  tape here….

http://foreverescapingboredom.com/main.htm

Written by : Malo

DecayCAST reviews : VOMIR / CRUCIFIX EYE split C40 (Forever Escaping Boredom Records)

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photo (7)Another swell release up from Forever Escaping Boredom
Records . A bright “psychedelic” data esque  is sliced my analog decay graces the cover with a thin black outline of a cassette shell, but pop this sucker in and its not quite as “bright” at all.  Layered images turn into a multi layered and structured WALL OF NOISE . VOMIR side is classic “VOMIR style”harsh noise wall- from France,  VOMIR is one of the best in the  game  currently. MILITANT, blown out, unnerving, a black analog  mass of  – the wall is information transmission failures -and meditative at the same time; hypnotic,  throbbing, yet unrelenting – a shuttering attack bouncing back on itself / again,again,again,again. VOMIR uses static for large sections of the lengthy track, as the oscillator for the wall
Of sound- static information- feeding back
On itself.; An endless breath from a tugboat at 100 decibel black sandstorm. Choke, choke , choke . subtle modulations occur underneath a wall of undulating fuzz. These subtle manipulations are in fact audible at different relationships to the speakers, but they actually become clearer at LOWER volumes – as the distortion cleans up a bit – shudder ur ears as the cassette stops.

Flip to side two and CRUCIFIX EYE blasts the listener with another huge wall – this one just as subtle yet monotonous as the last – brain lapse / OF CURSE that’s the point – the listener actually really needs to listen acutely at the RIGHT? Volume and an entire buZZINg orchestra of flatlined fans pulses the  air  with  an  unchanging static barrage of non information NOISE WALL. . STATIC into the ear canal
For what seems like an eternity. If anything, the Crucifix Eye side is just as dizzying yet it’s slightly quieter in volume which allows for slightly more clarity at the GUESS!? of the origin of the sound ? IMPOSSIBLE . An assembly line stuck
In a loop between a spiral caughtin the wrong direction -yes its true HNW has NO DYNAMICS and its meant that way/ unrelenting fuzzed out distorted audio assault of static hymn. This is the sound of an idea being sucked into an endless vortex of static entropy – THE sound pukes itself out for eternity – the militarism of the harsh noise wall is undeniable in this blast – for what it is / it’s done quite well. A great grab for HNW and static noise “fans” ? Two of the harsh noise wall masters on one cassette – a Blastermaster of sonic monotony wall ! Bow down .

Written by: Malo

VOMIR

CRUCIFIX EYE

FOREVER ESCAPING BOREDOM RECORDS

decayREVIEWS: Zone Tripper “War Radio” Cs (Forever Escaping Boredom Records)

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ImageZone Tripper. This IS  W A R R A D I O. Distant  sonic transmissions from ancient wars  passed,  the recordings of  dead  soldiers calling out  for a hault. Haunting,  nauseous  throbbing delayed  bleeps and  bopping morse code  tones  transmit a message of  failure.  The  sounds  themselves are somewhat interesting, somewhat  generic  sounding in their  recordings style of  blown  out electronics but the  samples, artwork, and  titles, “Transmission 1 and  Transmission 2”  take the  cassette  out of the  realm of “just noise”m and  frame  this  as  “lost recordings  from abattle  gone  awry,  they give more information  to  a  toxic landscape of  radio  stuttering onto itself and  caught in a  dark, nauseating loop. The  quality is pretty low  for the recording, but  again this  supports  the  title  and project  name, to a  degree, so  it  doesn’t  bother me in the  slightest, in fact it has a nice  effect.

Two eyes  in the  target of a machine that  reads brains and  sends drones on tracking  devices  into a  sonic caucophany of  buzzing   confused machines reverberating low  fi  information, layers and  layers of  squalching,  distorted  synthesizers  bleeping,  bleeding, and  peeping, until there is a  response.  “Code Red” style broadcast harsh undulating  electronics. A  beeping  pulse  is a theme  throughout as it  gives way to  other ascending and  falling  tones, one hundred mechanisms  all  failing, at the  same  time, and  then  crash.

Side B opens up  right in the same place, after some  swift samples, the  droning chaos has  flaired back up and is  painting  a picture of  harsh sounds, lost in the  fog, screaming, bleeping, and pounding to  find their  way out, but they   get  sucked back into themselves. Radar has  zoned in, and a black glove  reaches through time and  space and  takes the  last breath. Nice  artwork, and  color  labels on both sides of the cassette. WIll be  checking out more  from this label  soon, stay tuned for  more  reviews/

written by: malo

Forever Escaping Boredom Records

Zone Tripper

decayREVIEWS : Sleep Of Ages / Vasectomy Party CS (Forever Escaping Boredom Records)

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The A side is Sleep Of Ages, noise / cut up/ drone “budget” harsh style electronics project from Sao Paulo, Brazil. Starts off with some keyboard tinkering, looping phrases of fuzzed out midrange – warming up it sounds like but after about forty five seconds it begins to hit a stride, gaining volume, distortion and intensity, and the next thing you know- you’re in the center of an all out harsh noise attack- cutting, clawing and stretching the ears of the listener to use a reverse feedback audio weapon to the brain cavity. Sleep of Ages carves feedback, distorted hits and layered synthesizers and mixer feedback? To create an interesting blend of harsh textures with the occasional pause and drop in volume.  These dynamic harsh cuts and sudden changes in pacing, sound sets and intensity are the more visceral moments of the tape. Bubbling fuzz decays of a sinking barge oscillating the waves with its busted propellers / the sound of broken bones transmitted over an ancient CB.  Sleep of Ages side peaks in intensity and sonic textures and the organized “chaotic structure” stands on a peak, elaborates itself and then CUT- quietness then building back up to a rumbling oscillating fuzz machine which cannot control itsel f , looping shuddering and dying , pretty interesting work overall.

The B side, occupied by Vasectomy Party  starts off with a few samples and the. Slowly builds to a fuzz wall of chaos. A VHS WIND of broken iron machines scraping along concrete chasing down its maker for revenge.
Much more monotone in volume and dynamics, yet the mood ever so slightly undulates between dark, broken  and confused, THIS IS the sound of a hijacked transmission in space – the noise of the spinning universe printed back to 1/32″ tape – only archiving the nastiest hisses and scrapes. this machine is angry and it’s shaking inside. Walls
Of vocals and screaming blood feedback coat the speakers with a bleak sonic presence. A diseased churning stomach V P twists classic style harsh noise – overblown howling vocals, broken, jarring pulsing syntheizers, junk and garbage sounds – a whipping environment-a few areas seemed a bit underdeveloped but just when it would start to lose me a new sound set will
Come out and confuse and alienate- interesting sounds and approach overall on both sides and 4 panel collage  foldout which really adds to the tape – and full color labels on both sides – great looking tape,
Out  interesting release overall

http://sleepofages.wordpress.com/

http://vasectomyparty.bandcamp.com/

Forever Escaping Boredom Records

decayREVIEWS : Flourescent Gray “Ambiente” (3xCD , RecordLabelRecords, 2013)

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fluorescent Gray is one of the artists of RecordLabelRecords,an Oakland based imprint releasing intricate and dissonant works from the bay area and beyond-  from Thomas Dimuzio, Flouresent Gray ,Nommo Ogo and more. With a clean and fresh aesthetic, the attention to detail and themes of science fiction, mind alterations psychedelic based  minimalist textures in both  image and sounds RecordLabelRecords has seem to craft an aesthetic that for The most part, is all their own . These themes carry over nicely to the recorded works of Flourecent Grey. “Ambiente” is a three disk promo for what appears will actually be housed in a printed box with some small scale art prints as well. Spanning over three discs, and seven years,  “Ambiente”  is “all over the place” (in a good way)  from
“old school” minimal techno, to musique concrete, to dark drone to straight field recordings.
On Ambiente, Flourecent Gray explores a wide breath of sonic structures and conceptual possibilities through this tour de force of shuttering electronic environments;  Live “traditional” instrumentation, buzzing programmed synthesizers, distorted drones and sample based collage sections all have their own breath of life throughout this massive work.

Disk  one starts out the gate with slow breathing tones – a distant machine puttering along on its last legs grows closer and louder/  creating a nice ambient arch of rising shuttering, yet dissonant chords. The sound of  the sonic deconstruction  of cold, barren, shaking architecture.  slowly and subtly collapsing on itself, in perfect time
. the rhythmic structure starts to reveal itself and builds into a dense psychedelic
Array of choppy lazer like percussive beats, layered  synthesizers, and echoed, distorted vocals. Ambiente moves along subtly yet swiftly through more beat driven tracks of danceable yet complex electronic movements. At times
Noisy and at times sparse and theatrically minimal, Ambiente spans  a wide of pacing, intensity and dynamics- which can sometimes be a challenge with more beat driven electronic music – but Ambiente does a swell job of always keeping the listener guessing

. The overall slope of the peaks and troughs of “an album” in the traditional sense, are explored throughout the near three hour release, yet the work is so stretched out the listener really has to commit an intense listening session to gain the overall structural integrity of Ambiente as near three  hour work, rather than seprate works. To the artists credit, however Ambiente – does this very thing,  by giving life to a scope of sonic methods. Dark churning, chaotic, cacophonous stabs of sound   morph into minimal sections, raw single
Drones,
Or tones-more, barely audible scrapes of sound movement swell and collapse, then bleed into  field recordings, ESP, spy style recordings, single instrument “solos”, playful yet sincere  foley artist samples slowly morph into more shuttering tones, voice, synth voices, and raw tones blended with a  blissful care give breath back to an empty dark echo chamber. Glowing sounds pulse through the eyelids giving birth to new pings of decay – a slow machine waking up throughout the mix, while possessing a similarly cold theme of a distant consciousness being resurrected through sonic transmissions.

, Ambiente,  At times, “loses” the listener in the traditional sense, yet perhAps that was part of the intent . The listener at that point, must  engage  into the realm of background sounds – unknown voices. A distant blurred yell ? At this point i was “lost” but it made sense .and I was unaware of what I was listening to and then i would become drawn in again. Maybe considering the length of this release .that momentary detachment from the work as a whole  isn’t the worst effect/affect.   The push and pull of presence and absence in the overall structure creates a subtle tension which works well

Over the three disks many different moods, structures. Pacings Methods are used. Not afraid to be self referential within its stylistic choices, Ambiente references early forms of “ambient” music as well as carving out its own sonic territory which comes off neither as redundant nor contrived, but rather fresh and arching across different sonic territories. Sometimes u can tell if your listening to futuristic consciousness sound alterations or distant transmissions from the past, a vast and interesting release overall, will be checking some other Flourescent Gray recordings in the future, as well
as works from the label, RecordLabelRecords

written by: malo