I realize that there has been a real delay in my getting more reviews posted. I'm struggling with the worst case of writer's block I've ever had since I started writing reviews in 1997. Hopefully, I will "crack through" this wall soon. I have many excellent recordings to tell you all about. I've also submitted my "Best of 2007" lists to New Age Reporter and they should be posting that soon at their site. If I don't get through this bout of writus blockus soon, I will at least put some brief comments up here about the 20 or so albums that I am ready to write about.
Also, it appears that the Wind and Wire site may be down. If it doesn't come back by Sunday (Feb. 10th) sometime, I'll shoot an email to the nice person who hosts it on his server and ask him if there's a problem. In the meantime, I have revised the links page there and once I can upload it, it'll be more current (I deleted a lot of dead links). I'll also be re-tooling it by adding some as well.
Thanks for your patience as I plow my way through this creative obstruction. It's new for me, i.e. being at a loss for words (LOL). We have a terrible few days ahead here in Minneapolis (lows in the teens below zero Fahrenheit) so maybe I can stay warm in front ofthe PC typing away. Wish me luck!
Saturday, February 9, 2008
Monday, January 14, 2008
REVIEW: TOR LUNDVALL - The Seasons Unfold Sampler
TOR LUNDVALL
The Seasons Unfold Sampler
Strange Fortune
4 tracks: 15:25
Grade: B+
As sometimes happens, trust me to be late to the party on yet another critically acclaimed ambient artist. Tor Lundvall (and his CD Empty City) has been mentioned (and praised) numerous times on internet venues such as ambient@hyperreal.org and The Hypnos Forum with people waxing eloquently about his “ghost ambient” soundscapes. Sadly, I let the term “ghost” color my preconceptions and, as a result, I turned a deaf ear/eye, mistaking the term “ghost” to mean “Here’s another drab and dreary drone-o-phile.” The last thing I wanted to hear was more “music to substitute for a fan playing.” Imagine my surprise (more like shock actually), when this four-song promotional sampler arrived in the mail (it’s free, by the way, when you purchase anything at Strange Fortune ) and I discovered a subtle yet undoubtedly melodic ambient strain of minimalism, colored in pale pastels, evoking empty streets late at night, yet not in an overly melancholic way, but still deeply evocative and intensely intimate.
The four tracks are described as “Selections and alternate versions from the forthcoming 4-CD [4-CD???!!!] set The Seasons Unfold.” Based on what I’ve heard, Tor Lundvall just may be able to pull off something as audacious as a four-CD album! If this sampler is an indication of what awaits fans of low-key, forlorn but “pretty” soundscapes, they’re gonna get their money’s worth, I’d imagine.
Running about fifteen minutes, you’d be surprised at the variety of the music here (well, variety considering everything is more or less in the same vein). “Whir (mix #2)” opens things up with a repeated musical phrase on piano played off against reverbed bell tones that echo off in the distance alongside a pleasing clicking percussive effect (perfectly sublimated to the background). “29” is a vocal track, but the vocals are just as much ambient in nature as the music, although not because they are wordless (there are actual lyrics) but the haunting nature of (I would imagine it’s Lundvall’s) the voice fits in perfectly with the repeated pattern of gentle synth notes and delicate minimal bells. A softly pealing electric guitar adds an extra element of subtle sadness. If this track doesn’t bring to mind walks alone in the fading light of an autumn day, you have no imagination! “The Backyard” has a slight sense of the same kind of glitch that I heard on both Marconi Union’s Distance as well as Ben Swire’s Equilibrium, but draped in a slow sad sense of reflection with almost no kinetic movement forward. Once again there are some heavenly muted vocals (sure sounding like Neil Tennant at times!) that, instead of detracting from the mood, actually elevates it! Amazing! Finishing off this EP is “November’s Fields” which is the most brooding piece here, yet still absolutely “musical” in nature. What sounds like an echoed triangle note is panned between channels while the center channel flows with a blend of sparse melodic repetitions and very subtle bass rhythms. I was slightly reminded of one or two tracks from SAW II, but to be honest, since this clocked in at only 4:03, it didn’t wear out its welcome like some of those long cuts on SAW II do.
So, count me as those in line with bated breath and sweaty palms until The Seasons Unfold is released. Hopefully, the promise of this teaser of a sampler will be fulfilled. If it is, that 4-CD set may wind up being on a lot of Ambient Album of the Year lists!
The Seasons Unfold Sampler
Strange Fortune
4 tracks: 15:25
Grade: B+
As sometimes happens, trust me to be late to the party on yet another critically acclaimed ambient artist. Tor Lundvall (and his CD Empty City) has been mentioned (and praised) numerous times on internet venues such as ambient@hyperreal.org and The Hypnos Forum with people waxing eloquently about his “ghost ambient” soundscapes. Sadly, I let the term “ghost” color my preconceptions and, as a result, I turned a deaf ear/eye, mistaking the term “ghost” to mean “Here’s another drab and dreary drone-o-phile.” The last thing I wanted to hear was more “music to substitute for a fan playing.” Imagine my surprise (more like shock actually), when this four-song promotional sampler arrived in the mail (it’s free, by the way, when you purchase anything at Strange Fortune ) and I discovered a subtle yet undoubtedly melodic ambient strain of minimalism, colored in pale pastels, evoking empty streets late at night, yet not in an overly melancholic way, but still deeply evocative and intensely intimate.
The four tracks are described as “Selections and alternate versions from the forthcoming 4-CD [4-CD???!!!] set The Seasons Unfold.” Based on what I’ve heard, Tor Lundvall just may be able to pull off something as audacious as a four-CD album! If this sampler is an indication of what awaits fans of low-key, forlorn but “pretty” soundscapes, they’re gonna get their money’s worth, I’d imagine.
Running about fifteen minutes, you’d be surprised at the variety of the music here (well, variety considering everything is more or less in the same vein). “Whir (mix #2)” opens things up with a repeated musical phrase on piano played off against reverbed bell tones that echo off in the distance alongside a pleasing clicking percussive effect (perfectly sublimated to the background). “29” is a vocal track, but the vocals are just as much ambient in nature as the music, although not because they are wordless (there are actual lyrics) but the haunting nature of (I would imagine it’s Lundvall’s) the voice fits in perfectly with the repeated pattern of gentle synth notes and delicate minimal bells. A softly pealing electric guitar adds an extra element of subtle sadness. If this track doesn’t bring to mind walks alone in the fading light of an autumn day, you have no imagination! “The Backyard” has a slight sense of the same kind of glitch that I heard on both Marconi Union’s Distance as well as Ben Swire’s Equilibrium, but draped in a slow sad sense of reflection with almost no kinetic movement forward. Once again there are some heavenly muted vocals (sure sounding like Neil Tennant at times!) that, instead of detracting from the mood, actually elevates it! Amazing! Finishing off this EP is “November’s Fields” which is the most brooding piece here, yet still absolutely “musical” in nature. What sounds like an echoed triangle note is panned between channels while the center channel flows with a blend of sparse melodic repetitions and very subtle bass rhythms. I was slightly reminded of one or two tracks from SAW II, but to be honest, since this clocked in at only 4:03, it didn’t wear out its welcome like some of those long cuts on SAW II do.
So, count me as those in line with bated breath and sweaty palms until The Seasons Unfold is released. Hopefully, the promise of this teaser of a sampler will be fulfilled. If it is, that 4-CD set may wind up being on a lot of Ambient Album of the Year lists!
Monday, January 7, 2008
Some pre-Best of the Year musings
As I begin the dreaded yearly ritual of preparing and posting a “Best of the Year” listing, I’m once again confronted by the usual dilemma, i.e. is it fair to lump a whole slew of very dissimilar ambient subgenres together under one genre, pitting them against one another in order to come up with one “master” list? I don’t like that idea one bit. I prefer the “Golden Globes” as opposed to the “Academy Awards” approach. Oscar does not differentiate between comedies and dramas and, as a result, a comedy has to be more or less flawless in order to be named Best Picture (or even get nominated), unless it is a dark one, e.g. Fargo. The Golden Globes make a distinction between best drama and best comedy, in effect making for a much more level playing field.
At the very least, I’m likely going to subdivide into two ambient subgenres: rhythmic and floating (maybe not use those terms, but you get my point). I actually think further delineation may be necessary. Can you really pit glitch against Berlin school EM? How about chill-out? Is the hated classification “electronica” okay for all rhythmic electronic music…and what about the forgotten sub-genre spacemusic? Then there’s beatless ambient. Does one distinguish between abstract textural music versus minimalism (a la Budd and Eno) and where does drone fit in?
This may not seem like a big deal. After all, it’s just my opinion. And I’ve even considered instead of posting a list, just singling out specific albums and coming up with a very specific “award” for each one and then listing one or two honorable mentions instead of a broad spectrum list of 10 or 20.
Finally, on an unrelated aspect of this topic (i.e. Best of the Year lists), I want to add that I didn’t get a chance to hear a LOT of prominent ambient releases this year because they weren’t sent to me for review. Now, before you think I never buy music and only listen to music sent to me, please allow me to explain that it’s much less a matter of my not spending the money and more a matter of lack of time. I barely have the time to review what is sent to me so if I start buying music (to review) it just means less time for all the other recordings. So, when I do post my list, in whatever shape or form it takes, don’t think to yourself, “What an idiot, he didn’t list Arc of Passion or Fever Dreams III or Atlas Dei or Eleven Questions” (and I don’t mean to pick on Steve Roach or Robert Rich, they just spring to my mind - sorry guys!) remember that there are only so many hours in a day, days in a week, etc. If I omitted what you think is an obvious masterpiece, it may mean I never heard it. On the other hand, maybe my taste is just better than yours!
I’d welcome any feedback, opinions, or rantings on the above topic, so here’s your chance to clue me in. Don’t waste it!
At the very least, I’m likely going to subdivide into two ambient subgenres: rhythmic and floating (maybe not use those terms, but you get my point). I actually think further delineation may be necessary. Can you really pit glitch against Berlin school EM? How about chill-out? Is the hated classification “electronica” okay for all rhythmic electronic music…and what about the forgotten sub-genre spacemusic? Then there’s beatless ambient. Does one distinguish between abstract textural music versus minimalism (a la Budd and Eno) and where does drone fit in?
This may not seem like a big deal. After all, it’s just my opinion. And I’ve even considered instead of posting a list, just singling out specific albums and coming up with a very specific “award” for each one and then listing one or two honorable mentions instead of a broad spectrum list of 10 or 20.
Finally, on an unrelated aspect of this topic (i.e. Best of the Year lists), I want to add that I didn’t get a chance to hear a LOT of prominent ambient releases this year because they weren’t sent to me for review. Now, before you think I never buy music and only listen to music sent to me, please allow me to explain that it’s much less a matter of my not spending the money and more a matter of lack of time. I barely have the time to review what is sent to me so if I start buying music (to review) it just means less time for all the other recordings. So, when I do post my list, in whatever shape or form it takes, don’t think to yourself, “What an idiot, he didn’t list Arc of Passion or Fever Dreams III or Atlas Dei or Eleven Questions” (and I don’t mean to pick on Steve Roach or Robert Rich, they just spring to my mind - sorry guys!) remember that there are only so many hours in a day, days in a week, etc. If I omitted what you think is an obvious masterpiece, it may mean I never heard it. On the other hand, maybe my taste is just better than yours!
I’d welcome any feedback, opinions, or rantings on the above topic, so here’s your chance to clue me in. Don’t waste it!
Tuesday, December 18, 2007
REVIEW: PARALLEL WORLDS - Obsessive Surrealism
PARALLEL WORLDS
Obsessive Surrealism
DiN (2007)
11 tracks, 63:29
Grade: A
Bakis Sirros (Parallel Worlds) reinvents retro-EM on Obsessive Surrealism, one of the best EM recordings of the year. As he weaves his way through eleven tracks (many under six minutes - a decision that I applaud, frankly), he immerses the listener in a shadowy realm where a myriad of past EM and electronica influences (chief among them are John Carpenter’s soundtracks) merge with a dark yet lush contemporary tint. A smattering of synth-pop touches, perhaps trace elements of Jarre, Tangerine Dream, or Synergy also surface, as well as echoes of contemporaries like Current, Di Evantile, and others. The music (much of it created on modular analogue instruments) is always couched in an atmosphere permeated with dread, foreboding, menace and mystery. Because the music frequently has a cinematic aspect to it, I think Sirros’ biggest influences were the music from films such as Escape from New York, The Fog, and to lesser degrees, Big Trouble in Little China and The Thing (and yes, I know The Thing soundtrack was actually composed by Ennio Morricone, thankyouverymuch). Regardless whether you will agree with me on this point, Obsessive Surrealism is an entertaining disc and certainly plays better in the foreground rather than as sonic wallpaper. You’ll really want to listen to this one.
The opening “Beneath Fear” gives you a good indication what to expect. Muted bell tones are set off against assorted skittering electronic FX and minor chord washes. Rhythms emerge gradually but build in intensity along with the addition of moody chorals. “Different Pathways” begins with a steady snare and bass drum beat. Burbling static and organ-like chords are right out of The Thing, and have that same “hair stands up on the back of your neck” effect, as if something is approaching and it’s not gonna be pleasant. Yet, the energy of the song (unlike Carpenter’s soundtracks) is dialed up to a higher intensity level. It’s almost infectious, an intriguing counterpoint to music suffused with dread. “Empty Human Cells” evokes Escape from New York at times, with the same pulsing rhythms and flurry of synths that marked one of Carpenter’s more sought after works.
Sirros settles down only occasionally (too bad) e.g. on “Increasing Complexity” with its echoed piano, bell tones, and undulating drones, eventually married to some midtempo synth bass beats and weird effects. He takes aim at a mixture of ‘80s dance/synth pop crossed with neon-lit Berlin on the bouncy, energetic “Distracted.” Harold Faltemeyer meets Tangerine Dream, perhaps? The CD ends with the dark Sturm und Drang of “Crying Spells,” a welling-up dose of propulsive yet oppressive power, reminding me of Big Trouble in Little China crossed with The Keep (soundtrack by Tangerine Dream).
Despite my numerous allusions to other artists (notably Carpenter and his unnamed accomplice Alan Howarth), don’t be mistaken in thinking Obsessive Surrealism reeks of copycatting. Bakis Sirros is certainly an original. The music here is a hybrid of retro analogue-driven and contemporary EM, with the emphasis on the former but not in a derivative fashion. More than anything else, what Sirros’ infuses this CD with is a delightfully sly mixture of fun and frights. Charged with a shadowy spookiness and a dose of creepy menace around every corner, the album is very highly recommended.
Obsessive Surrealism
DiN (2007)
11 tracks, 63:29
Grade: A
Bakis Sirros (Parallel Worlds) reinvents retro-EM on Obsessive Surrealism, one of the best EM recordings of the year. As he weaves his way through eleven tracks (many under six minutes - a decision that I applaud, frankly), he immerses the listener in a shadowy realm where a myriad of past EM and electronica influences (chief among them are John Carpenter’s soundtracks) merge with a dark yet lush contemporary tint. A smattering of synth-pop touches, perhaps trace elements of Jarre, Tangerine Dream, or Synergy also surface, as well as echoes of contemporaries like Current, Di Evantile, and others. The music (much of it created on modular analogue instruments) is always couched in an atmosphere permeated with dread, foreboding, menace and mystery. Because the music frequently has a cinematic aspect to it, I think Sirros’ biggest influences were the music from films such as Escape from New York, The Fog, and to lesser degrees, Big Trouble in Little China and The Thing (and yes, I know The Thing soundtrack was actually composed by Ennio Morricone, thankyouverymuch). Regardless whether you will agree with me on this point, Obsessive Surrealism is an entertaining disc and certainly plays better in the foreground rather than as sonic wallpaper. You’ll really want to listen to this one.
The opening “Beneath Fear” gives you a good indication what to expect. Muted bell tones are set off against assorted skittering electronic FX and minor chord washes. Rhythms emerge gradually but build in intensity along with the addition of moody chorals. “Different Pathways” begins with a steady snare and bass drum beat. Burbling static and organ-like chords are right out of The Thing, and have that same “hair stands up on the back of your neck” effect, as if something is approaching and it’s not gonna be pleasant. Yet, the energy of the song (unlike Carpenter’s soundtracks) is dialed up to a higher intensity level. It’s almost infectious, an intriguing counterpoint to music suffused with dread. “Empty Human Cells” evokes Escape from New York at times, with the same pulsing rhythms and flurry of synths that marked one of Carpenter’s more sought after works.
Sirros settles down only occasionally (too bad) e.g. on “Increasing Complexity” with its echoed piano, bell tones, and undulating drones, eventually married to some midtempo synth bass beats and weird effects. He takes aim at a mixture of ‘80s dance/synth pop crossed with neon-lit Berlin on the bouncy, energetic “Distracted.” Harold Faltemeyer meets Tangerine Dream, perhaps? The CD ends with the dark Sturm und Drang of “Crying Spells,” a welling-up dose of propulsive yet oppressive power, reminding me of Big Trouble in Little China crossed with The Keep (soundtrack by Tangerine Dream).
Despite my numerous allusions to other artists (notably Carpenter and his unnamed accomplice Alan Howarth), don’t be mistaken in thinking Obsessive Surrealism reeks of copycatting. Bakis Sirros is certainly an original. The music here is a hybrid of retro analogue-driven and contemporary EM, with the emphasis on the former but not in a derivative fashion. More than anything else, what Sirros’ infuses this CD with is a delightfully sly mixture of fun and frights. Charged with a shadowy spookiness and a dose of creepy menace around every corner, the album is very highly recommended.
REVIEW: NA-KOJA-ABAD - Dreamfall
NA-KOJA-ABAD
Dreamfall: Veils and Visions
Muamer Music (2007)
3 tracks, 58:45
Grade: A
Few subgenres of ambient have a greater ability to transport the listener than ethno-tribal when performed/recorded by an artist who knows what he/she is doing. I recall listening to albums such as Soma or Rainforest or more recent releases, e.g. The Shaman’s Dream or Moontribe and thinking how unlike any other type of ambient music they were. I would feel whisked away to caverns, dank and dark, or to humid landscapes where strange creatures lurked in the lush underbrush lit by campfires and populated by ancient peoples who practiced ceremonies of power and mystery. Such is the heritage of Dreamfalls: Veils and Visions from Na-Koja-Abad. Turn out the lights and prepare to find yourself in a primal, sensual and yet strangely comforting landscape.
Comprised of three tracks (twenty-five, twenty-three and ten-plus minutes in length), Dreamfall…is exquisite. Here is the highest praise I can give it: Few recordings cross my desk these days that I wish I had time to delve into and explore in detail. Such is the artistry of Dreamfall: Veils and Visions.
What puts this CD in the esteemed company of the ones I mentioned earlier? Perhaps the careful attention to detail which the artist brings to all the elements in the mix. On “Traversing the Dusk,” the opening track, what makes it work so well is the seamless integration of nature sounds, such as bird song, with the undulating drones, the electric guitar peals, the assorted shakers, rattles and rainstick. It’s so immersive, as if one were walking through this landscape - the sun setting, the shadows lengthening, and the hint of something not necessarily scary but certainly unknown and disquieting hanging in the air. After fifteen minutes of ambient-esque sound sculpting, Na-Koha-Abad folds in the tribal elements (frame and hand drums) and the sensuality of the piece elevates pronouncedly. The tempo is slow, sexual, primal and the heat is palpable. Obvious comparisons for me are to Soma, a huge compliment as I have many times stated I consider it a true masterpiece of ethno-tribal ambient music.
“Devouring the Sky” reverse the order of the previous track, starting off with the percussive elements (hand drums reminiscent of the recordings mentioned earlier with the exception of Rainforest) and water burbling over rocks. Liquid drones and dark shadowy synth textures flow over the beats. When the rhythms subside, drones take over and wave after wave of them wash over you, carrying you along in their eddy, but never in a threatening way, more as if to say “Come with us…we have wonders to show you.” Midtempo tribal drum beats and rattles slowly emerge from the darkness and as they intensify, you feel energized rather than terrified, as if you were heading toward something wondrous and fulfilling, not dark and disturbing. This sensation of a shadowy realm but not one of fear runs throughout Dreamfall…and it’s this juxtaposition (which Soma has as well) which makes the CD so alluring, intoxicating and begs the listener to return time and time again.
The shorter drone-centered final track, “Garden of the Ineffable” is not so much an anti-climax as it is the inevitable arrival at the apex of the journey…a heartbeat rhythm melds into a series of drones and washes amidst scattered percussion and welcoming chorals (by Aida Moćević), and you realize you are home. Not the comfortable home of your hearth but the home you yearned for in your dreams, a place of fulfillment and enlightenment where knowledge is all and awareness is consummate.
Whew! Na-Koja-Abad impressed me with his previous release, Deluvia. Here, he raises the bar higher still, working in a more atmospheric and less dark but still haunting vein, crafting music which transports me to a world that I wish I could visit in reality. This is an indulgent album, one to patiently wade through and digest, to savor and linger over, until you feel sated by the sheer magic of its mystery. Highly recommended.
Dreamfall: Veils and Visions
Muamer Music (2007)
3 tracks, 58:45
Grade: A
Few subgenres of ambient have a greater ability to transport the listener than ethno-tribal when performed/recorded by an artist who knows what he/she is doing. I recall listening to albums such as Soma or Rainforest or more recent releases, e.g. The Shaman’s Dream or Moontribe and thinking how unlike any other type of ambient music they were. I would feel whisked away to caverns, dank and dark, or to humid landscapes where strange creatures lurked in the lush underbrush lit by campfires and populated by ancient peoples who practiced ceremonies of power and mystery. Such is the heritage of Dreamfalls: Veils and Visions from Na-Koja-Abad. Turn out the lights and prepare to find yourself in a primal, sensual and yet strangely comforting landscape.
Comprised of three tracks (twenty-five, twenty-three and ten-plus minutes in length), Dreamfall…is exquisite. Here is the highest praise I can give it: Few recordings cross my desk these days that I wish I had time to delve into and explore in detail. Such is the artistry of Dreamfall: Veils and Visions.
What puts this CD in the esteemed company of the ones I mentioned earlier? Perhaps the careful attention to detail which the artist brings to all the elements in the mix. On “Traversing the Dusk,” the opening track, what makes it work so well is the seamless integration of nature sounds, such as bird song, with the undulating drones, the electric guitar peals, the assorted shakers, rattles and rainstick. It’s so immersive, as if one were walking through this landscape - the sun setting, the shadows lengthening, and the hint of something not necessarily scary but certainly unknown and disquieting hanging in the air. After fifteen minutes of ambient-esque sound sculpting, Na-Koha-Abad folds in the tribal elements (frame and hand drums) and the sensuality of the piece elevates pronouncedly. The tempo is slow, sexual, primal and the heat is palpable. Obvious comparisons for me are to Soma, a huge compliment as I have many times stated I consider it a true masterpiece of ethno-tribal ambient music.
“Devouring the Sky” reverse the order of the previous track, starting off with the percussive elements (hand drums reminiscent of the recordings mentioned earlier with the exception of Rainforest) and water burbling over rocks. Liquid drones and dark shadowy synth textures flow over the beats. When the rhythms subside, drones take over and wave after wave of them wash over you, carrying you along in their eddy, but never in a threatening way, more as if to say “Come with us…we have wonders to show you.” Midtempo tribal drum beats and rattles slowly emerge from the darkness and as they intensify, you feel energized rather than terrified, as if you were heading toward something wondrous and fulfilling, not dark and disturbing. This sensation of a shadowy realm but not one of fear runs throughout Dreamfall…and it’s this juxtaposition (which Soma has as well) which makes the CD so alluring, intoxicating and begs the listener to return time and time again.
The shorter drone-centered final track, “Garden of the Ineffable” is not so much an anti-climax as it is the inevitable arrival at the apex of the journey…a heartbeat rhythm melds into a series of drones and washes amidst scattered percussion and welcoming chorals (by Aida Moćević), and you realize you are home. Not the comfortable home of your hearth but the home you yearned for in your dreams, a place of fulfillment and enlightenment where knowledge is all and awareness is consummate.
Whew! Na-Koja-Abad impressed me with his previous release, Deluvia. Here, he raises the bar higher still, working in a more atmospheric and less dark but still haunting vein, crafting music which transports me to a world that I wish I could visit in reality. This is an indulgent album, one to patiently wade through and digest, to savor and linger over, until you feel sated by the sheer magic of its mystery. Highly recommended.
REVIEW: ROBERT DAVIES - Garden of Twilight
ROBERT DAVIES
Garden of Twilight
dataObscura (2006)
10 tracks, 61:02
Grade: B
Robert Davies, whose album Sub Rosa landed on my best of 2006 list, turns his minimalist ambient eye on a landscape less melancholic (and melodic) on Garden of Twilight, a worthy follow-up but one that is (for me) more satisfying from an intellectual and aesthetic level than from an emotional one. That comment doesn’t mean this is a poor album, however. Davies works in much more subdued and subtle vein than he did on Sub Rosa. For ambientphiles who enjoy drifting minimalism with just a hint of melody among the washes, textures, drones and effects, Garden of Twilight will probably prove to be a garden of Delight.
“Among Exquisite Ruins” opens the album with layers of washes and warm drones, flowing over and under one another, some with a subtle resonating quality. “Iridescent Reflections” features those almost obscenely beautiful bell tones that I fell in love with on Sub Rosa and it also mirrors that release’s sad reflective melancholy, but with a hint of detachment. “The Ecstasy of Overgrown Sundials” blends male chorals (reminding me of early Kevin Kendle recordings, as odd as that association may appear) amidst swelling drones and delicate reverberating tones. “Hidden Colors Radiance” is anchored by what sounds like low register churning organ chords on top of which minimal synth tones lightly but only occasionally flit. Echoed piano features prominently on “Ambrosial Tapestry” but a lack of warmth somewhat undercuts the emotional impact of the track, perhaps due to how the piano sounds or the relative plainness of the background electronic textures. Drone-lovers will probably love “Entangled in Lush Green” with its drone accentuated by subtle bubby electronics and ultra-minimal tones. I didn’t much care for the stark unwavering “Sunken Garden” which epitomizes what I don’t usually care for in drone-based music, i.e. just not enough to connect with on a human level. Better is the album closing ten-minute “Beneath Strange Stars” which blends layers of flowing ambient drones with other electronic instrumentation, yielding a flowing dark (but not scary) spaciness with a palpable but pleasant sensation of mystery which I’ll bet is perfect for stargazing.
Despite my not connecting (on a personal level) with Garden of Twilight, I still recommend the CD, provided that you don’t need as much melody or warmth as was present on Davies’ Sub Rosa. In some ways, Garden of Twilight is a “purer” ambient album because it calls attention to itself much less frequently than Sub Rosa did. The only problem is that it also can flow by unnoticed for stretches at a time so that it’s only selected moments that stand out (such as “Iridescent Reflections”). Davis already has several newer albums out (I’m late with this review) and I’m curious if he has gone back to his Sub Rosa ways or has instead followed down this particular path instead. That will be revealed in a future review, I imagine. In the meantime, I recommend the album if it fits your taste as it’s certainly a very good example of this type of ambient music.
Garden of Twilight
dataObscura (2006)
10 tracks, 61:02
Grade: B
Robert Davies, whose album Sub Rosa landed on my best of 2006 list, turns his minimalist ambient eye on a landscape less melancholic (and melodic) on Garden of Twilight, a worthy follow-up but one that is (for me) more satisfying from an intellectual and aesthetic level than from an emotional one. That comment doesn’t mean this is a poor album, however. Davies works in much more subdued and subtle vein than he did on Sub Rosa. For ambientphiles who enjoy drifting minimalism with just a hint of melody among the washes, textures, drones and effects, Garden of Twilight will probably prove to be a garden of Delight.
“Among Exquisite Ruins” opens the album with layers of washes and warm drones, flowing over and under one another, some with a subtle resonating quality. “Iridescent Reflections” features those almost obscenely beautiful bell tones that I fell in love with on Sub Rosa and it also mirrors that release’s sad reflective melancholy, but with a hint of detachment. “The Ecstasy of Overgrown Sundials” blends male chorals (reminding me of early Kevin Kendle recordings, as odd as that association may appear) amidst swelling drones and delicate reverberating tones. “Hidden Colors Radiance” is anchored by what sounds like low register churning organ chords on top of which minimal synth tones lightly but only occasionally flit. Echoed piano features prominently on “Ambrosial Tapestry” but a lack of warmth somewhat undercuts the emotional impact of the track, perhaps due to how the piano sounds or the relative plainness of the background electronic textures. Drone-lovers will probably love “Entangled in Lush Green” with its drone accentuated by subtle bubby electronics and ultra-minimal tones. I didn’t much care for the stark unwavering “Sunken Garden” which epitomizes what I don’t usually care for in drone-based music, i.e. just not enough to connect with on a human level. Better is the album closing ten-minute “Beneath Strange Stars” which blends layers of flowing ambient drones with other electronic instrumentation, yielding a flowing dark (but not scary) spaciness with a palpable but pleasant sensation of mystery which I’ll bet is perfect for stargazing.
Despite my not connecting (on a personal level) with Garden of Twilight, I still recommend the CD, provided that you don’t need as much melody or warmth as was present on Davies’ Sub Rosa. In some ways, Garden of Twilight is a “purer” ambient album because it calls attention to itself much less frequently than Sub Rosa did. The only problem is that it also can flow by unnoticed for stretches at a time so that it’s only selected moments that stand out (such as “Iridescent Reflections”). Davis already has several newer albums out (I’m late with this review) and I’m curious if he has gone back to his Sub Rosa ways or has instead followed down this particular path instead. That will be revealed in a future review, I imagine. In the meantime, I recommend the album if it fits your taste as it’s certainly a very good example of this type of ambient music.
About this blog and why it exists...
Welcome to the Wind and Wire blog. Besides containing mirrors of the reviews posted on the Wind and Wire website, this blog may/will contain other ramblings by yours truly as well as whatever you, dear readers, decide to post as replies.
So, why did I jump back into reviewing for my own site after a one-and-a-year hiatus? My new age music (and associated genres) reviews will still appear at New Age Reporter, but I wanted to do something a little different with my ambient reviews than I had been up to now, especially since NAR caters more to the new age/adult contemporary/world music fan and also because ambient fans (and artists) seem to exist in their own subculture anyway (to say the least).
I’ve always tried to write lengthy detailed reviews of ambient music, a genre that, IMO, is sometimes (but not always) ill-suited for that type of analysis. Some, but not all, of the new reviews of ambient, electronica, chill-out, spacemusic, etc. you will read here will be shorter and also may come across as being more critical (some may be outright pans). This latter change reflects my reaction to what has been the most oft-criticized aspect of my reviewing in the past, i.e. I’m too “soft” and don’t write enough about my negative reactions to recordings I receive for review. Since, many artists and fans have expressed a desire to read more “critical” reviews of ambient music over the years, I decided to give them (you) what you want.
I’m also initiating a rating system (since I work at a university, I’ll use the grading scale of A+ to F), which I know will meet with a mixed reaction. Some of you have told me you hate ratings and some have told me you think they’re great.
Note that I'm still going to contribute the occasional ambient review to NAR and I also contribute to a site called Furthernoise.
Finally, for those who are going to subscribe...to make it easy to ignore my miscellaneous ramblings and only pay attention to my reviews, review blog entries will begin with the word REVIEW followed by the artist and album title.
Thanks for stopping by. Please feel free to respond here or send me an email.
So, why did I jump back into reviewing for my own site after a one-and-a-year hiatus? My new age music (and associated genres) reviews will still appear at New Age Reporter, but I wanted to do something a little different with my ambient reviews than I had been up to now, especially since NAR caters more to the new age/adult contemporary/world music fan and also because ambient fans (and artists) seem to exist in their own subculture anyway (to say the least).
I’ve always tried to write lengthy detailed reviews of ambient music, a genre that, IMO, is sometimes (but not always) ill-suited for that type of analysis. Some, but not all, of the new reviews of ambient, electronica, chill-out, spacemusic, etc. you will read here will be shorter and also may come across as being more critical (some may be outright pans). This latter change reflects my reaction to what has been the most oft-criticized aspect of my reviewing in the past, i.e. I’m too “soft” and don’t write enough about my negative reactions to recordings I receive for review. Since, many artists and fans have expressed a desire to read more “critical” reviews of ambient music over the years, I decided to give them (you) what you want.
I’m also initiating a rating system (since I work at a university, I’ll use the grading scale of A+ to F), which I know will meet with a mixed reaction. Some of you have told me you hate ratings and some have told me you think they’re great.
Note that I'm still going to contribute the occasional ambient review to NAR and I also contribute to a site called Furthernoise.
Finally, for those who are going to subscribe...to make it easy to ignore my miscellaneous ramblings and only pay attention to my reviews, review blog entries will begin with the word REVIEW followed by the artist and album title.
Thanks for stopping by. Please feel free to respond here or send me an email.
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