The artist otherwise known as Bee Mask guides us through five records that hold particular resonance to him and his working practices.
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It’s an especially healthy time to be into ambient electronic music, not least when you get presented with propositions as enticing as this one. Bee Mask’s thirteen minute opus “Vaporware”, draped across the lead side of his release for Room40 last year, particularly held within it a great potential for imaginative remixing, but the artist couldn’t have been expecting the response he got from Donato Dozzy when he approached him for a remix. It was a smart move, either on the part of Bee Mask or Spectrum Spools who now release this collection, as Dozzy has a rich history in ambient material as much as his transcendental techno ways, but even they must have been shocked when the Italian producer returned not one but seven full-bodied reworks.
John Elliott’s label reveal details of LP from US underground artist Valerie Martino.
Tantalising details have slipped out regarding the next release from Spectrum Spools, with Donato Dozzy reworking Bee Mask.
Spectrum Spools have announced details of their first releases of 2013, from label newcomers Quicksails and Palm Highway Chase.
With her debut release arriving on cassette before being given a limited vinyl pressing by Digitalis, it’s not surprising that Motion Sickness Of Time Travel – otherwise known as Rachel Evans – hasn’t received the same kind of attention as her more visible peers coming out of the US synth underground. Of course she’s not the only female US artist creating delicate synth music – her compositions share a common textural link with Laurel Halo, whose music shares a certain “new age” quality – but that’s as far as the comparison goes. While Halo’s music becomes poppier with each release, Evans’ slowly evolving drones are far more indebted to 20th century music concrète. “The Summer Of The Cat’s Eye”, for example, is at one point flecked with what sounds like a reel of magnetic tape chewing itself to pieces – a moment which, along with the prickly reverse tones of “The Dream”, have the bustling timbres of Varèse at his most chaotic.