Review: Bee Mask aka Chris Madak is a master of ambient, drone electronics and everything in between; he's even been picked up by none other than Will Bankhead for one of his phantasmal cassette excursions on the revered TTT catalogue. This latest EP comes on Australia's Room 40, a label which has been putting out some breathtakingly leftfield music for a number of years now. Title track, "Vaporware" combines a bleepy, Warp-like ensemble of sonics with a stunning background of cascading pads to create a dreamy landscape of melodies which sound nearer to modern classical than to anything electronic. On the B-Side, "Scanops" is another chimerical excursion into distant voices, lingering pads and rippling synthesizer experimentations. Recommended!
The Stones Continued Intermittently - (6:33) 138 BPM
As Tranquil As An Apple - (5:56) 116 BPM
Rust & Comet - (4:41) 151 BPM
Review: Believe it or not, but Oz-man Chris Abrahams has been dealing in wayward, left-of-field music since the mid 1980s, proudly offering his piano skills as a base for some of the nuttiest electronic soundscapes to have hit the continent down-under, and the rest of the globe for that matter. He reappears here on his native Room40 with Fluid To The Influence, and ambitious LP that scatters its noisy wings across eight slices of experimentation recalling the American noise tradition set out by labels such as Hanson. It's not all dread and destruction, however, and Abrahams skilfully manages to inject plenty of warmth and peace with his piano over abstract sound surrealism that resides in a world of its own. Recommended.
Review: Through labels like the charismatic and genre-defining Sub Rosa, David Shea has been quietly releasing ground breaking modern classical music since the mid 1990s, which makes him a veteran of the genre. Many producers have tried to emulate this sort of style, this sort of take on electronic music, but few manage to come up with something fresh and alluring like Shea. Piano I is out on Australia's Room40 - a perfect landing destination for this cinematic LP - and as the title suggests, Shea focusses on the pianoforte as the main instrument to guide the minimal wave of dreary-eyed sonics that circle in mid-air. It's a pensive piece, and one that should be enjoyed with attention and care...kind of like a good bottle of red wine.
Review: Eugene Carchesio's output has been exclusive to Australia's Room40, and the label have done a marvellous job at keeping this talent on their roster; we love everything about Carchesio's musical bric-a-brac, and each time one of his new LP's drop, we're eager to hear what sort of tip this beat wizard is on. The best way to describe his music would be to reference the infamous Sahko label and artists such as Mika Vainio, because although this is predominantly experimental music with an abstract feel, the beats and rhythms are powered by a distinctive sort of minimalism which hailed from Finland in the mid 1990's. The Planets is a glorious addition to this guy's already stellar discography, and we recommend it to all those looking for a futurist rush in their lives. TIP.
Review: Birmingham's Chris Herbert isn't a full-time musician, but more of a full-time artist. His releases have been limited but all of them are incredibly endearing and rich with sonic detail. His third LP comes courtesy of Australia's Room 40 imprint, and it's the most complete work that we've heard from the man. Ten tracks of aural bliss, all wrapped up in dense coating of ambient fuzz. Tracks like "Cia Radieuse" or "Zona" are minimal in their construction, but each one of them contains the sort of charisma and atmosphere that can transport you to different worlds and back again.