Review: Forgoing the relative delicacy of his predominantly guitar focused Touch releases for something altogether more complex, Sagittarian Domain sees him adopt a more complex compositional approach. Held together with his own powerful, Krautrock inspired drumming, thick slabs of ominous Moog bass, searing walls of amplified guitar, and dramatic string section, Sagittarian Domain is just as impressive as you'd expect from Editions Mego, and a bold step forward for the artist.
Review: Following their collaborative album Indeed which dropped in 2011, Oren Ambarchi and Jim O'Rourke join forces once more to deliver the two-track epic Behold for Editions Mego. Fans of this pairing will know what to expect, as daring soundscapes fill with a multitude of sound sources carefully processed into a simmering whole, stretched out over long form running times for the ultimate immersive experience. "Behold One" revels in suspended animation as its textures very gently rise and fall, while "Behold Two" takes a more lively route towards a clanging, droning crescendo driven by organic and electronic matter.
Review: After a three year absence, the collaborative project of Ilpo Vaisanen and Dirk Dresselhaus (better known as Schneider TM) yields a new album for their regular haunt Editions Mego, and it's a subtle beast that rewards patient and attentive ears. "Naked Land" growls and prowls over 26 minutes of mutant groans and drones fizzing with acoustic energy, while "Monolake" brings proceedings down to a more tense, restrained level of disturbing noise. "Colonialists" takes the high-frequency road with a multitude of nerve-jangling soundwaves merging into one slow-release cacophony, and "Quake" finishes off with some grungy distortion reaching towards a twisted kind of musicality.
Review: Having previously dazzled with his diversions into non-techno music on The Space Between People And Things and further back into his career, Anthony Child once again leaves Surgeon behind to indulge in a more personal kind of project. Reportedly recorded whilst in a jungle in Maui, as the title would suggest, this album for Editions Mego finds Child at his calmest, fusing the sounds naturally occurring around him with his own melodic pulsations. Of course creative retreats are nothing new, but when someone with such experience takes the controls in such a setting it's little wonder that such magical results ensue.
Review: Editions Mego drop another ton of electro-acoustic funk on us, this time by veteran German duo, Atom TM and March Behrens. Compiled from recordings made between the '80s and up to the present day, it's basically an anthology of electronic music, seeing its twists, turns and transformations over the last three decades. Compelling, efficient and downright mind-bending in every way.
Review: Some music just doesn't fall into any category, with this current release on the peerless Editions Mego certainly being of that disposition. Proposing a near 40 minutes of disemboweled noises, glitchy static and haunting tonalities, Sweden's BJ Nilsen and Stilluppsteypa create their own world - one which is far from our own. "Goda Nott 1" is a long journey into outer space, with its howling drones and meticulous sonics growing and then dissipating uncontrollably. The second excursion into the ether, "Goda Nott 2", although comparatively brighter than the first segment, still refuses to find its way out of the long and obscure tunnel built by the Swedish duo. Growling melodies and long, polyphonic trips make this release perfectly fit for a Stanley Kubrick film. Captivating noise collections.
Review: Fusing noise with dubwise electronica, Bolder sees the pairing of Martin Maischein and Peter Votava for a lengthy EP that explores a worthwhile meeting point between drone and rhythm. "Extraterrestrial Deactivity" sums this up perfectly as it starts on a single chilling tone which seems unlikely to head elsewhere, only to be side-swiped by a slow half-step beat embellished with reverb. Indeed there's plenty of compositional action going on that repositions the more ambient scrapes and swells in amongst crafty productions not afraid to get into a groove. "Morbid Funk Ride" lives up to its name with gusto, while "Passive Aggressive" stalks forth on a malevolent bassline and broken techno pulses.
Review: Operating out of Vienna, Christina Nemec has many strings to her bow at presents, including membership in recent Blackest Ever Black signings Shampoo Boy and roots in obscure Austrian industrial band Bray. Such associations all make perfect sense when listening to her new album as Chra, which has emerged in Editions Mego. Empty Airports is a fittingly desolate place where submerged rhythmic pulses and distant static flirt with occasional whispers of melody but largely echo out into a vast and very palpable nothingness. It's no mean feat to conjure up such spaces with sound, and Nemec does a wonderful job of it on this release.
Review: It was about time that someone struck up a partnership between Fennesz and Jim O'Rourke, two respected names in the ambient kingdom and masters of the art form. "I Just Want You To Stay" is crest-fallen, a track dragged forwards by lonesome, dissolving synths that seem to melt and recompose with each new turn, making this an abstract song with plenty of momentum. "Wouldn't Wanna Be Swept Away", on the other hand, is less sculptured and loose around the edges, managing to retain movement and shape through its chirping bundle of bleeps and diluted melodies. You wouldn't expect anything less from these two.
Review: You wouldn't believe it, but Ivan Pavlov's CoH project has been active since 1998, and the man's geometric approach to drone and ambient is always a refreshing listen. In that sense, this latest album Music Vol on Editions Mego is the perfect example of CoH's mathematical approach to music, and it's not difficult to hear the sound engineer in him. From "Ether Fields Forever", to "Vivid" and "Return To Mechanics", his ultra-minimal approach has plenty of shape and movement, an art form in itself, and something that many other leftfield artists lack. The only label that is perhaps on a par with this sort of material is Berlin's PAN or Finland's Sahko, who have released a similar strain of minimalistica over the years. Heavily recommended (for the more studious sound enthusiasts).
Lethe (River Of Forgetfulness) Or Oblivion - (5:53)
Elysium (Fields Of Relief) - (6:14)
Review: With a rich reputation for experimental cello performances and recordings, Arne Deforce links up with Mika Vainio for a nail-biting study in re-contextualising an instrument to realise a wholly new potential. With a heavy load of distortion on top of it, Deforce's instrument sounds like a thunderous guitar on "Phlegethon (Stream Of Fire)", making for an apocalyptic opening to the album. "Styx (River Of Rage)" likewise rains down heavy amounts of squeal and squall around a searing groan of noises and processes. There are more measured moments too, such as the slowly humming "Lethe (River Of Forgetfulness) Or Oblivion" and "Cocytus (River Of Lamentation)"s uneasy trickle of sounds.
Review: The ever prolific Kevin Drumm is back on Editions Mego after his last outing on the label with the Relief single in 2012. Trouble is a long-form piece that deals in the most subtle harmonic tones, from barely audible sub drifts to distant cries of strings from his signature weapon of choice, the tabletop guitar. There are moments when the sound swells ominously, and progressively over the duration of nearly an hour the sound reshapes itself with glacial progress. Occasionally it falls away again, only to re-emerge in a marginally altered configuration, but over the slow-moving course of the album the subtle shifts are less significant than the overall swell of the piece as a single solid experience.
Review: Also available on cassette, this latest Kevin Drumm release for Editions Mego is another fine example of the time-lapsing craft that the Chicago-based artist has made his own over a monolithic volume of releases. Split into two fifteen minute pieces, both sides of Shut In centre around a constant hum that modulates with glacial patience that renders the pace of the world outside irrelevant. It's the ultimate in musical subtlety, not to mention wholly comforting and engrossing once you submit yourself to the exercise. By the time additional harmonies and resonance seep into the sound its hard to tell how far through you might be, and of course it hardly matters. Truly transcendental tones for those who like to play the long game.
Review: Kevin Drumm has never been afraid of conjuring relentless doses of synth-kissed noise drones - he's appeared on various labels including the recently spawned Hospital Productions and more established noise outfits such as Aaron Dilloway's Hanson Records. Relief is nothing short of terrifying and right from its first segment, "Part 1", a merciless collection of hollow frequencies and frenetic white noise mask the swallowed melodies within its core. "Part 2" is a continuation of the same process, a meticulous experimentation of disembowelled feedback and modular static. "Part 3" is Drumm's most epic moment on the LP; the previously subdued tones are propelled into motion and produce a clearly audible guitar riff amidst its wild but equally outstanding chaos. A must for the true noise enthusiasts out there!
Review: Better known to most as Ekoplekz, Nick Edwards has been ridiculously prolific over the past year, with excellent releases on Punch Drunk, Public Information and Mordant Music to his name, and now he can add Editions Mego to that list, with the first record under his own name since a self-released cassette in 1994. Musically, there's little difference from his Ekoplekz material - this is still the same dense mix of raw analogue matter, dub techniques and radiophonic tendencies as before, but allowed to stretch out over four 15 minute tracks, his sound is more immersive than it's ever been.
Review: The lovely Editions Mego just has definitely delivered the goods in 2012, and to be honest, we're pretty damn excited for this last LP by the wonderful Emeralds. As we'd expected, the record is beautifully diverse and oozing with emotion right from its opener, "Before Your Eyes", a dreamy patchwork of crestfallen melodies which blend fluidly into other utopian synth-hymns such as "Through & Through" and "The Loser Keeps America Clean" - a particularly eerie amalgamation of noises. But the whole affair wouldn't be complete without the spark and zeal of "Adrenochrome", a fast-moving quasi-electro number; or the guitar-shaped rhythms of the title track, "Just To Feel Anything", the key pieces to this enticing puzzle!