Out of the many Dialects that are out there in the music world, this one will be of interest to those who enjoy the swell of abstract ambient electronics coming out of labels such as 1080p. Previously found on Tasty Morsels delivering the Advanced Myth album, the Liverpool-based artist has crafted a wonderful continuous journey that at times marries strumming guitar niceties with delicate, cascading synth notes in a faithful approximation of what 21st century folk music should sound like. The mood can shift in subtle ways, using field recordings to bridge gaps into more moody territory, turning back to serenity at a moments notice with a rich spread of instrumentation to point the way.
The latest release on Jonny Nash's Melody As Truth label sees Los Angeles-based talent Diego Herrera come forth with a new album under his familiar Suzanne Kraft moniker. It is of course just one of several projects the West Coast artist is involved in (Pharoahs, Dude Energy, Blase being several others) but the overall sunkissed, melodically rich sound he brings to them all make him a perfect fit for Melody As Truth. The seven tracks on Talk From Home were recorded over a few weeks in the winter of 2014, and feature Herrera playing guitar alongside more familiar synth tones in a mood that stays resolutely mellow from start to finish. Its three releases deep for Nash's label now and all of them have been sublime.
Raze de Soare bears all the signifiers of Future Nuggets' trademark "maneletronics" - taking cues from the bustling but traditional Romanian l?ut?reasc? - the Oriental motifs, the nostalgia and longing, mixed with 20th century electronics, a sort of psychedelic 70ties or 80ties chilled sound, starting off with dope bass and squeaky synth sounds. It could be made in the retromania of present day, as well as dug out from the vaults of Romanian synth pop.
Dutch duo Don and Roel Funcken aka Funckarma return with more madcap delights. "Trmt" is an unhinged affair, with high pitched squeals and squawks fused with hyper-speed metallic rhythms. "Spud Bencer" sees them drop the tempo, but it is still all over the place, with torn to shreds jungle bass and dissected percussion prevailing. "Grone" follows a similar, deconstructed approach; underpinned by clattering drums, the rhythm sways like a drunken sailor on shore leave. While this playful, chaotic attitude makes for interesting listening, the most accomplished piece is the title track, a seething, intoxicating mixture of percussive hisses and sensuous electronic melodies.
Warn steps up to GU to cast an array of arcane sonic spells that fidget and flicker through myriad textures and genres. "Above Class Below Kingdom" disrupts a spiritual church sermon with mangled phone tones. "Errance" is a DE9-level dub techno affair with icy pads and a pebbledash of snares. "Panoptes" is grizzly steppy tech with clipped Modeselektor style stabs before "Dzungarian" shoves us back into the catacombs where chimes pierce the droning fog. "Abyssian Lovebird" coerces us from the shadows with synthetic shards of piano sunlight and a wriggling bassline that wouldn't go amiss in a Funk D'Void cut. Finally we arrive at the party with an Asian flavoured arpeggio hook and samurai sharp drum arrangement. Deliciously detailed.
Recorded between 2000 and 2008, Immerse sees Danny 'Periskop' Kreuzfeldt move between moods and tones with consummate ease. A good portion of the album focuses on eerie, dark ambient - check the spooky mumblings on "Immerse (Component 1)" and the doom-ridden pulses of "Component 3". Surprisingly, the album also has moments of serenity, most audible on the chiming chords of "Component 2" and wispy ambience of "Component 7". However, these are only minor digressions and soon enough Kreuzfeldt is back doing what he excels at, delivering the eerie textures of "Component 9" and the murderous broken beats of "Component 10".
Belfast label Touch Sensitive Records delivers The Host's second album, and only his second release altogether under that alias. The Host is actually Northern Irish bass scientist Barry Lynn aka Boxcutter, a producer who has put out a vast amount of material on Planet Mu, and a string of EP's on Scuba's Hotflush Recordings, among many others. Touch Sensitive has decided to go for his more abstract work, however, and judging by their previous compilation by London's Cherrystones, these guys are into the deep end. Esalen Lectures is an album that requires patience and an open mind to allow its moody soundscapes to enter your mind. Once tracks like "Submersion" or "Primate Change" gather their momentum and rhythm, though, The Host's arrangements will stick in the back of your mind like no other contemporary drone and ambient music. From dubbed-out sonic swirls to twisted blends of drone, this is gorgeous and comes heavily recommended.
With three albums to his credit and twenty years' experience as a producer, it is no surprise that Martin Meister is able to craft a track like "Giving In". Combining underground elements like throbbing bass licks and trippy acid segues with soaring, operatic wails and deadpan vocals, it is sure to be the end of summer soundtrack in many big rooms. Available here in two versions, the 'House Every Weekend' take accentuates the soaring bass, while the '101' remix puts an emphasis on the interplay between the male and female vocals. 'Do it now, then later' goes the refrain, an apt chorus for a song that is sure to remain on heavy rotation.
It's another magic moment of old school vs new school on this fine collaboration between no wave legend Stuart Argabright AKA Black Rain and man of the moment Nino Pedone AKA Shapednoise, on his own Cosmo Rhythmatic imprint. "Metal Home" merges Argabright's screeching guitar feedback with the shredding white noise so typical of Pedone. "Autonomous Lethality" has Shapednoise all over it with its relentless body bashing bass frequencies. Miles Whittaker delivers an absolutely mental reshape of "Interceptor" like only he can before we're presented with the original version, which is equally as intense in its own right. Shapednoise's unmistakeable white wash of distortion merges with Argabright's dark atmospherics so perfectly. Not for the faint of heart!