Posts Tagged ‘Glitch’

Constellation are releasing three stylistically diverse electronic albums throughout May and June: the dazzling polychromatic avant-jazz-driven Familiar Science by JOYFULTALK (out now); the psycho-geographic glitch-noise minimalism of Gap/Void by Automatisme & Stefan Paulus (out May 20th); and the pulsing corrugated mantric-alluvial Miracles by T. Gowdy (out June 3rd).

The Montréal label has shared a video from each of these fine albums. Check ‘Üble Schlucht’ from Gap/Void by Automatisme & Stefan Paulus here:

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This is it Forever – 25th March 2022

Christopher Nosnibor

There are many artists who can boast bodies of work that are solid, and illuminated by outstanding gems along the way, but there are few artists with bosies of work as consistent as worriedaboutsatan. Fifteen years into the project’s existence, that’s a significant achievement. Some artists go off the boil or seem to struggle with maintaining that level once they achieve a certain degree of success, whether it’s simply through a perceived pressure to deliver something or create something that will replicate whatever it was that achieved that success, or simply diminishing returns, but worriedaboutsatan, despite having tracks featured on Coronation Street and Adam Curtis’ Hypernormalisation documentary, not to mention radio play on both 6Music and Radio 1, and the very vocal support of one Ian Rankin, remain unstinting in their path.

Operating solo since 2019, Gavin Miller has maintained a constant flow of output: so constant that since Providence last May, Miller’s slipped out a brace of album-length single track releases (Circles I and Circles II) and an EP Live from the Studio that entirely bypassed me while I was, well, I don’t know, what was I doing?

The thing about consistency is that it absolutely does not equate to sameness, and worriedaboutsatan’s output is defined by its evolution, incorporating wide-ranging stylistic elements from delicate post-rock to pounding beats within the overall sphere of haunting, reflective ambience of varying shades of darkness and light. And while satan’s sounds exist in a rarefied space all of their own, no-one lives in a complete bubble. We live in dark times, and not insensitive to this, this latest offering finds Gavin channelling that global turbulence through his work.

Bloodsport promises a departure, and it delivers. Miller describes it as ‘still very much a worriedaboutsatan album, albeit a fairly angry one.’ It’s a fair summary. The intro piece, ‘Je Suis Désolé’ is a classically ‘electronic’ composition with oscillating waves cutting across one another, but the treble tones sound like sharpening knives, and it has an edge that scrapes at the skull quite unexpectedly.

Making a linguistic and stylistic switch, ‘Bis Ich Komme’ is slow and dubby, a dense bass and backed-off beats holding the structure of a drifting ambience, before it solidifies and hardens around the mid-point. There’s a tension, a simmering aggression in the tone of the barbed synths, something uncomfortable and uncertain in the samples, before jungle beats hammer through the woozy, stomach-clenching undulations like machine gun fire

Released ahead of the album as an EP with three remixes, ‘Sigourney Weaver Fanclub President’ is the theoretical lead single, and it’s a brooding eight-and-a-half minutes of echoes guitar sustain and crashing sheet metal. It’s the sound of shattering destruction and trepidation. It’s classic ‘satan in that it’s all the layers, all the atmosphere, but it’s also steelier, with a certain bite previously unheard.

The two parts of the centrepiece, ‘An Absolute Living Hell’ are definitive and are a statement in themselves. Dark, dank, oppressive, bass-heavy and bursting with shards of extraneous noise, rippling in deep, deep echo, this diptych is the soundtrack to this bleak moment in time. ‘Part 2’ goes full industrial with a throbbing bass and crashing percussion worthy of Test Dept or Neubauten.

The stark robotix of the brief but claustrophobic ‘Perfekt’ makes for possibly the least WAS-like track of their career, before the metronomic thud of ‘Slur They Words’, dives headlong into the territory darkest hi-hop: the origins of the vocals are unclear, but they’re abrasive, and ‘Apex Redditor’ draws the curtain in a bleak fashion, but with a redemptive hint of a rippling piano and twitchy percussion that – I hope – alludes the prospect of a new dawn. Because surely, surely, there has to be a light at the end of this tunnel.

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Dret Skivor – 5th March 2021

Christopher Nosnibor

Recently-launched Swedish label Dret Skivor has a fairly broad remit in its commitment to being ‘Locally focussed but stretching out to droneheads, noiseheads, ambientheads and weirdoheads across Scandinavia’. Stylistically, it’s pretty much a case of anything goes as long as it’s not remotely mainstream – but that certainly doesn’t mean that anything that’s vaguely accessible is off-limits, and Fern’s Inhibitory Shortcomings, described as ‘is a minimalistic digital multi-tracked adventure’ isn’t unpleasant or overtly challenging to any ear that’s accustomed to alternative electronica.

This set has something of a 90s vibe initially, a woozy wash of electronics, cracking static, and sampled dialogue and horns dominating the eclectic cut-up that is ‘in´ros50’. As such, while inspired granular looping, FM and different sampling techniques. AS such, while inspired by ‘the avant-garde music produced by the San Francisco Tape Center (among others) during the 1960’s’, William Burroughs’s tape experiments, as filtered through the prism of albums like Spare Ass Annie and Other Tales, produced with The Disposable Heroes of Hiphoprisy, also very much seem to inform the sonic collage pieces on offer here.

‘digi´al_r3alm pt1’ and counterpart ‘digi´al_r3alm pt2’ combine clacking, clattering tonal-based percussion with obscure oscillations and a static crackle like a downpour of rain: the latter drags down into gloomy, eerie atmospherics with a hesitant bass throb underpinning insectoid skitterings and dank sloshing washes that slop back and forth listelessly.

It’s a solid drum-based percussion that dominates the beginning of ‘dr3´_0032’ before the tape starts spooling backwards and everything gets sucked back towards it source.

None of the pieces are particularly long – only ‘digi´al_r3alm pt2’ exceeds four minutes – but each is rich in atmosphere and texture, packing in a dense array of sounds that collide against one another, bouncing off the wall of dark subterranean caverns of the mind to conjure some unsettling images. Flittering tweets and scraping squeaks abound, as do dripping sonic droplets that splash into spacious reverberations.

Closer ‘ou´ros51’ perhaps feel the most dislocated and dissonant of all of the compositions, a slow, decaying loop of an analgesic trip-hop beat and blooping laser sounds drags on repetitively, gradually slowing the senses to a slightly disorientated fog of drowsiness.

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Oktaf – OKTAF#13

Christopher Nosnibor

Still Air is the third solo album by Japanese electronic musician and soundtrack composer Teruyuki Nobuchika. Promising ‘electronic abstractions and classic sensitivity’ with ‘influences in a minimal ambient music context’, Still Air is very much about the atmospheric background, in the most fundamental of terms. Nobuchika creates ambient music which is subdued, toned down, quiet, devoid of beats and overt structures. Still Air is an album which, first and foremost, drifts.

Microglitches, the soft hiss of a vinyl groove, a barely discernible click disturb the almost pure ambience of the title track, and introduce Nobuchika as a musician with a keenly attenuated ear for subtlety and nuance. Across the album elongated drones, backwards hums and soft, supple strings create delicately atmospheric background compositions. What renders them interesting is the way in which Nobuchika filters in tiny incidentals, brief brushstrokes which add layering and depth. Rays of light filter through swirling fogs, chimes and tinkling notes ripple mellifluously amidst soothing washes of cloud-like sound.

The measure of any music is what kind of response it engenders in the listener. More often than not, ambient works evoke a sense of vague, relaxed enjoyment, but little more, as a tranquil boredom slowly takes hold. Still Air achieves something similar, but without the boredom. It’s a pleasurable experience, and one which offers an unconventionally three-dimensional ambient experience.

 

Teruyuki Nobuchika – Still Air