AUDIOMAZE – ERRATIC GESTURES & STATIC INSTABILITY (Downstream Records)
A new album from Downstream Records founder and fan of aliases Damon Vallero, who we last covered when he released last year’s Damaged Textures album under the name Local Sound Developer. Erratic Gestures & Static Instability finds Vallero deploying the quirky Cocoquantus and Plumbutter units from Baltimore synth house Ciat-Lonbarde, whose unique sound-creating interfaces give the album a playful suite of timbres but also more than an affectionate nod in the direction of some of the earliest electronic music experiments. The buzzing topline of ‘Wasp Having A Spa Day’ and its seesawing, wobbly foundation layer wins the prize for the most evocative track of the collection, while ‘Levitation’ has a soothing, contemplative quality ideally suited to a brief moment of calm in the maelstrom of our diurnal existences. Wonderful sounds from St. Albans and another release from Vallero worth spending some quality time with. Released February 5 2021.
THE GREEN KINGDOM – SOLARIA / SWEENEY – MISERY PEAKS (Sound In Silence)
Two new releases from the Athens-based Sound In Silence imprint. The first, from Michigan-based Michael Cottone’s long-running The Green Kingdom project, is a collection of warm, almost folksy ambient soundscapes for electronics and guitar that – to this listener anyway – evokes the subtle optimism that comes with the shift from winter to spring. The details here are what’s important: the eight-minute ‘Arc’ offers a melody that nods in the direction of The Isley Brothers’ version of ‘Summer Breeze’ and ‘Sol 1’ sounds like what happened when Depeche Mode opened the gate to A Broken Frame’s secret garden. The second, Misery Peaks by Australian Jason Sweeney, finds the singer and sound artist offering a ruminative suite of songs over an intricate backdrop of turbulent gestures, modern classical tonalities, harsh industrial noise and sparse, fractured rhythms. ‘Sun’ is the album’s towering highlight, a plaintive love song placed in the context of a constantly-shifting tapestry of sonic events underpinned by a shrouded, submerged pulse. Both released March 27 2021.
GENEVA SKEEN – THE CLAP OF THE FADING-OUT SOUND OF YOUR SHOES (Touch)
Geneva Skeen’s contribution to Touch’s Displacing subscription series finds her using the recorded sounds of Los Angeles from earlier this year and augmenting those with electronic manipulations to form a single piece of episodic, adventurous sound art. Like Chris Watson’s Displacing contribution (Station Chapelle), Skeen’s sounds have a strange, slightly unplaceable otherness. We are told that these sounds originate from LA, but how can we really be sure? What are the critical signifiers of their provenance? What is so distinctive about the hum of a helicopter, a person humming quietly to themselves, what could be the sound of cars driving over joints in a concrete bridge or the rain that makes these sounds sound like LA? This is perhaps the beauty of any field recording taken out of context – they are sounds that need explaining, that need justifying, as if we could not expect to comprehend them otherwise. Put that irreverent psychobabble to one side and what you have is an exciting, vibrant suite of noisy-beautiful sounds that carry a brooding purpose and a dark energy… which I guess is a fairly accurate depiction of LA, actually, now I come to think of it. The Clap Of The Fading-Out Sound Of Your Shoes is another brilliantly evocative chapter in the Displacing story. Released April 2 2021.
SAD MAN – THE MAN FROM S.A.D
A new album arriving through your letterbox from peripatetic Bourneville sonic magician Andrew ‘Sad Man’ Spackman is always a treat. Sidestepping the surprising directional shifts of his last three projects – the oblique radio play Stories From An Island with Francis Lowe for Cue Dot, the claustrophobic Music Of Dreams And Panic for Wormhole World and his soundtrack for silent movie Menilmontant – The Man From S.A.D finds Spackman riffing off the electronic wonkiness that characterised 2020’s genius Daddy Biscuits. More melodic than some of his other releases, for the most part The Man From S.A.D has a cheerful swagger and spring in its step, exemplified by the churning electric forward motion of the standout ‘Finny Feet’ and ‘The Green Opal’. We also find Spackman experimenting with vocal textures and samples across this album, always in typically skewed and playful way (see his brilliantly obtuse soul-inflected block party jam ‘The Shark’). What’s refreshingly omnipresent, though, is his dexterous, restless ability to endlessly hop from one idea to the next without catching breath, an effect that’s a lot like watching Charlie Chaplin in the mesmerising, chaotic but meticulously arranged conveyor belt scene from Modern Times. Released April 23 2021.
SATURNIN SEKTOR – NIGHT ENCOUNTERS (Cruel Nature Records)
Kinda hard to write about this new Cruel Nature album by Genovese electronic music duo Saturnin Sektor without using the expression ‘imaginary soundtrack’ or the superlative ‘John Carpenter-esque’ – mostly because Night Encounters is an imaginary soundtrack and its familiar tonality was inspired by the long shadow that Carpenter’s approach to scoring cast over a pivotal segment of the 1980s movie landscape. So you know the drill: stalking basslines, expressive melodies, resolute drum patterns and a heightened sense of psychological drama, which these ten tracks all have in an abundance. MS and TC (the anonymous minds behind the project) break with the format slightly on ‘Among The Ruins’, which manages to adopt a proggy stance courtesy of some soaring ‘Whiter Shade Of Pale’ organ chords; at just shy of five minutes, the preceding action in our imaginary movie suggests a heck of a lot of stuff got ruined. Released April 30 2021.
WILLIAM S. BURROUGHS & BRION GYSIN – WILLIAM S. BURROUGHS & BRION GYSIN
This vinyl-only release from Cold Spring collects together rare recordings of Beat authors William S. Burroughs and Brion Gysin, drawing together pieces made while they were both staying in Paris in 1970, an October 1982 Burroughs performance from Liverpool’s Centre Hotel, and a series of poetry readings by Gysin from the mix-1960s. Listening to Burroughs’ familiar drawl from the Centre Hotel recordings, there’s a certain deft humour to his newsreader-like delivery which has the audience in uproarious laughter. Some of Burroughs’ racial language is enormously offensive when heard today, but it’s the home recording of his asserting a nihilistic surrender to junk on an extract from ‘The Beginning Is Also The End’ that’s arguably the collection’s most shocking moment.
Gysin’s recordings focus on the development of the cut-up technique, including the instructive tape piece ‘Cut Ups Self-Explained’ which sounds like a lecture on the process until its practical demonstration reveals the splices, leading to words placed out of context, suddenly making no sense, making new shapes and inferences instead. Alongside pieces like ‘Pistol Poem’, wherein the dry sound of a gunshot is looped into a nascent rhythm, Gysin initially appears the more experimental of the two word-innovators, but largely only because the Burroughs performance making up most of this album is relatively linear. The inclusion of three versions of the Burroughs piece ‘Invisible Art’, supported by inchoate found sounds and words, does much to even up the balance. Released May 10 2021.
Words: Mat Smith
(c) 2021 Further.
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