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: 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.
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