Omit - Rundowns (Deepskin Conceptual Mindmusic, 1995)

A1 Type One
A2 Type Two
B1 Type Three
B2 Type Four

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Omit - The Invision State (Trinder Music, 1994)

A1 Negative Evaluation
A2 The Edge Of Pointlessness
B1 The Pretenence Of Value
B2 Concious Standpoint

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Omit - Retraction (Stomach Ache Records, 1993)

A1 Pre-Gain
A2 Low-Depth
A3 Down-View
B1 Sub-Retraction
B2 Neo-Traction

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Omit - Ionospheres (Deepskin Conceptual Mindmusic, 1992)

A1 Tumult
A2 Volution
B1 Inert
B2 Nympholepsy
C1 Resupinate
C2 Convection
D1 Inflammation
D2 Ionospheres

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Omit - Fluid (Deepskin Conceptual Mindmusic, 1992)

A1 Thixotropy (The Inners Of My Skull Turn To A Thick Warm Fluid)
A2 Agglutination
A3 Floation To Rest (Absoprtion Of The Liquid Mind)
A4 Corrosive Liquids
A5 The Last Act Before Dissolving (In The Fall Of Trapped Localization Of An Awareness Becomes Even More Apparent)
B1 Elluent Immersion
B2 Drowning In Tubes
B3 Bloated Swollen Liquid Vessels
B4 The Rotating Cylinder (Container Of Oppression To Which Is Outwardly Denied)
B5 Consuming Soft Matted Masses
B6 The Sleepless Fluid (The Suffocation Of The Restless This Process Of Realization Was Never A Inhibition)

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Omit - A Block Of Face (Deepskin Conceptual Mindmusic, 1991)

A1 Unbuttoned Pig
A2 Misunderstand
A3 A State Of Alarm Turned Onto Itself
A4 End
A5 Down
A6 A Block Of Face
A7 Walking
A8 Strong Denial
B1 You Are
B2 Something Is Always There
B3 Breakdown
B4 Shadow
B5 In Here
B6 Disadvantage Cut Open
B7 Damage [Kevin Doherty]

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Omit - Alienation (Deepskin Conceptual Mindmusic, 1990)

A Section One: Part One (30:52)
B Section Two: Part Two (31:00)

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Bernhard Günter - Slow Gestures / Cérémonie Désir (For Heike) (Trente Oiseaux, 1999)

1 Untitled (23:15)

It is very difficult for me to speak of this work, since it is getting very close to my goal of creating a kind of language free space. I thus prefer to let it go without further comment other than that I dedicate it to my companion Heike - each gesture is both speaking of her, and speaking to her, without words.
Bernhard Günter

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Paul Bradley - Sophia Drifts (Mystery Sea, 2005)

1 Sophia Drifts (40:03)

Sophia Drifts se meut comme une lente spirale de drones languides, la première moitié du morceau nous engourdit l'esprit tandis que la seconde moitié va dans un crescendo de fréquences métalliques et finalement s'éteint dans le calme...

Most of the time, a piece of art will slowly come into being. Switching over from the world of ideas and from a state of infiniteness, it will materialise and take a definite shape in the hands of a painter, sculptor, writer or composer. Sometimes, however, a piece of music will simply “be” there. Suddenly a note can be heard, a chord is struck or a sound emerges from the depths of your PCs memory chips and there is nothing which needs to be added anymore. That’s what “Sophia drifts” sounds like. Set out to emphasize the “now”, this is indeed an album which rests in itself, travelling at the speed of your watches’s hour hand in slow motion. Yet move it does and there’s not a moment that goes by without the distinct notion that time is progressing, both inexorably and compassionately. A darkly shimmering diamond sun pulsates at the heart of “Sophia”, while a high-frequency breeze cooling its heated surface. Emenating from the void, it slowly grows into its destined form and simply continues from there on, merely allowing in some crackling and fissling as well as some subterranean water gurgling. Most comparable pieces use volume to create expansion, but Bradley chooses to explore the concept of thematical contraction instead – tiny musical motives come up and are unfathomably sped up. While their cycles become ever more closely intertwined, the listener’s mind starts to glide frictionlessly, like a silent figure skater on a moonlit sea in winter. Finally, the piece falls back into the sea of mystery and myriad opportunities, this time with a sense of thankful acceptance. Or maybe with an entirely different feeling, depending on your disposition: What has happened between pushing the “play” button and the return of the laser to its initial position can not be described by a summary of its content, nor by the time which has passed. “Sophia drifts” has become something of a silent classic, one of those works that you read about empatically on those tiny, but loveable web spaces, far away from the frenzy of the magazine market and the daily media. It deserves to be: A whole life seems to be comprised in this single composition and it takes you to all the places it has been and to all the faces it has seen. Sometimes that is all you need to be happy.
Mouvement Nouveau

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Andrew Chalk - Fall In The Wake Of A Flawless Landscape (Three Poplars, 2004)

A Untitled (20:45)
B Untitled (20:54)

Le second travail solo d'Andrew Chalk après Over the Edges (1999), les drones y sont majestueux et calmes, Andrew Chalk se défiant de toute facilité nous surprend sur plusieurs plans, tant sonores qu'émotionnels....

It's been about five years since Andrew Chalk released his last solo effort, Over the Edges. His newest album comes as a vinyl-only release in an edition of 600 copies and not only does it look excellent (the sleeve artwork and the little flourishes on the record itself are gorgeous), but it sounds absolutely majestic. Split into two side-long pieces, Fall in the Wake of a Flawless Landscape carries with it the same foreboding energy that 1999's Over the Edges had, but it also resonates a ubiquitous calm that feels something like floating on ocean waves. Chalk's drones stay consistent throughout, relenting only to reveal more ominous tones under the dominant ring and drag of some timeless organ. The blurred images of the cover bring to mind a haunted spectre traversing some dark plain covered in tall grasses and of unbearable size; no matter how far that figure travels, the disqueting feeling of infinity is always present. Anxiety dominates the album, but so does a sense of privacy. Throughout, I imagine myself as this fictional pilgrim caught up in some endless search and, at the same time, that long and lonely feeling opens up some kind of inner peace, as though I am happy being alone and lost. So far as the sound goes, Chalk's compositional skills are unbeatable. Whenever the sounds become too ghastly or alarming, Chalk shifts gears and somehow inverts them into striking and monumental sounds of great beauty. Strings buzz, organs disintegrate, and whales bellow their songs over this landscape, all in a harmony that defies any easy explanation. This is what Chalk does best though: defy easy anything. Fall in the Wake... occupies several emotional and atmospheric worlds at once: the dense and open, the terrifying and the awesome, and the contradictory positions of both quiet and loud. It's a difficult middle ground that Chalk finds and weaves into music and it's a difficult middle ground that few others can accomplish. This release has me anxiously awaiting the next Mirror album and has put me in the unenviable position of wanting more solo Chalk music: five years between albums is too long to wait.
Brainwashed

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Mirror - Places Of Light (Three Poplars, 2004)

A1 Untitled (4:27)
A2 Untitled (6:00)
A3 Untitled (8:38)
B1 Untitled (20:41)

no need for a review...

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Paul Bradley - All That Was (Twenty Hertz, 2003)

1 Untitled (28:45)
2 Untitled (18:07)

Austère et sombre...

Austere and dark...

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Alio Die & Yannick Dauby - Descendre Cinq Lacs Au Travers D'Une Voile (Aqua, 1998)

1 Descendre Cinq Lacs au Travers D'une Voile (21:19)

Drone, bols tibétains et field recordings d'eau...

Drone, singing bowls and water field recordings....

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Natural Snow Buildings - Ghost Folks (hinah, 2002)

1 Nuclear Winter / (Dispatches)
2 If I Can Find My Way Through The Darkness...
3 ... I Came Down Here
4 Sun
5 The Haunted Falls / (Let Us Now Praise Harry Powell)
6 Fallen Lords Were Riding Half Horses
7 With A Stolen Red Lipstick Bible On Her Side
8 They Are Still Hanging Around
9 (...)
10 Guns & Rifles
11 Nuclear Winter

Bizarrement, avant même d'avoir écouté l'album envoyé par Natural Snow Buildings, nous nous sentions déjà en terrain ami. Peut-être tout bonnement grâce à la simplicité des informations accompagnant leur album : une unique feuille de calque contenant les titres et les instruments, le tout tapé avec une fonte de machine à écrire. Et l'osmose n'a pas été démentie puisque nous avons craqué sur ces longs morceaux atmosphériques basés en majorité sur un trio guitare/boucles/violoncelle.
hinah

Funnily enough, without even listening to the album that Natural Snow Buildings sent us, we already felt on familiar ground. Maybe quite simply thanks to the plain information that came along with their album: just a sheet of tracing paper with the titles and the instruments, typed with a typewriter font. And the osmosis wasn't denied, as we fell for these long atmospheric tracks, mostly based on a guitar/loops/cello trio.
hinah

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The Tone Of The Universe (= The Tone Of The Earth) (PseudoArcana, 2005)

1-01 The Blithe Sons Map Of Dusk (6:59)
1-02 Peter Wright Haboob (5:54)
1-03 Keijo Stellar Wind (5:07)
1-04 Eugene Carchesio & Leighton Craig Untitled #14 (From The Hunter Constellation Series) (6:41)
1-05 CJA Misty (4:08)
1-06 Anla Courtis Several Galaxies Of Bb Soundlave Playfully Roaming About (6:56)
1-07 Vibracathedral Orchestra 3 Bb Moods (4:52)
1-08 Hands Of Satisfaction Version 1 (11:14)
1-09 A.M. / Uton Ground Curve (8:44)
2-01 Moglass 05:05 (5:03)
2-02 Neil Campbell Bbreeeze (3:51)
2-03 Birchville Cat Motel I Am But Dust (8:45)
2-04 The Skaters Between Land And Cloud Galloping Through Her (4:31)
2-05 Seht Antarctica Download (Edit) (7:01)
2-06 Of The Blank Room (4:59)
2-07 1/3 Octave Band Dominion (3:21)
2-08 Nether Dawn Amber Eyed (3:32)
2-09 My Cat Is An Alien Hear The Voice Of The Cosmos (9:15)

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Organum - Birds' Wings Were Glued To Their Bodies And Their Feet Froze To The Ground (Die Stadt, 1999)

1 Untitled (7:28)
2 Untitled (35:34)
3 Untitled (4:40)

Trois drones qui apparaissent comme des mouvements d'un même morceau, enregistrements caverneux, cymbales, drones de guitare, ... sans doute un des meilleurs disques de David Jackman....

The dense acoustic scrapes & drones recorded in richly sonorous environments (cavernous warehouses, freeway overpasses, waterducts, etc.) appear much more orchestrated here on "Birds' Wings..." than on the previous Organum records. Solid fragments of bowed cymbals and clattering metal have been mapped out strategically against the hypnotic austerity of droning quitars and bowed steel wires. Along with the mastermind of the project David Jackman, Organum's line up includes Robert Hampson (Main /Loop), Michael Prime (Morphogenesis), Emma O'Bong, and Mat Fox. Both Jim and Byram give the thumbs up on this one!
Aquarius Records

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A Mouse Orchestra - A Lump In Your Throat (Robot Records, 1994)

A A Lump In Your Throat Pt. 1 (3:00)
B A Lump In Your Throat Pt. 2 (2:14)

Collaboration entre David Jackman et Christoph Heemann

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Oöphoi - Whispers From The Noisy Void (Umbra Records, 2007)

1 Cold Sun (6:50)
2 Eclipse In The 4th System (21:44)
3 Quantum Light (13:25)
4 Hieros Gamos (9:55)
5 Substance Metallique (23:12)

Belle et profonde ambient utilisant synthés mais aussi flûtes, bols chantants, etc...

Beautiful and deep ambient using keyboards and also flutes, singing bowls, etc...

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Uton - Ground's Dream Cosmic Love (Students of Decay, 2006)

1 Ground's Dream Cosmic Love (Magmamagnetic Golden Turtle Mix) (45:44)

Longue piste de 45 minutes de drone minimal qui sonnerait comme le battement de la pluie sur les toits et le grondement d'un train tout à la fois...

Once again, Finland's Jani Hirvonen pilots his Uton vessel through majestic, organic vectors of ur-drone bliss. These subterranean landscapes both threaten and beguile, with oppressive hum and hiss giving way to distant lullaby melodies that sound like they're being transmitted live
and direct from some primitive metropolis whose inhabitants have never seen the sun.
Students of Decay

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Asher - The Depths, The Colors, The Objects & The Silence (Mystery Sea, 2007)

1 Partly Framed In Sunlight (19:58)
2 The Blue Gently Linked (24:20)
3 Plastic Dusk (22:05)

La base du matériel travaillé ici par Asher est constitué de field recordings d'environnement urbain (sirène de police, voitures, appels de voix) qui constratent grandement avec les morceaux intimes qu'il obtient...

asher thal-nir resides in Somerville, Massachusetts... in recent years, he has emerged as one of the most interesting & singular sound artist, shaping aural microlandscapes of a new nature...
His works are based on recordings of acoustic & electronic instruments, manipulated location & found recordings... He already saw a lot of his sound miniature studies published on various well known netlabels (12k/Term, Laboratoire Moderne, Con-V...) and had some CD-Rs out on Con-V & Leeraum... he is also about to launch his own label named SOURDINE...

asher thal-nir feeds his music with the everyday sounds as a root for emotional stimulus... it uncoils nonchalantly in long eroded tapes of granular texture & uneven surfaces, dust varnished ribbons...
the emphasis lays often on scratches & tears put to the fore, tending to draw an extremely minimal rhythmic structure, mirror of a frailty & language of invisibility...
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On "the depths, the colors, the objects and the silence", asher embraces an hazy ocean of memory, tracing a path beyond obliteration...
Things are perceived through a numb veil, carrying the residues of a former superficial life, trying to connect with an evanescent world, an inner frame...
This is a sort of reverse microcosm...
For this shift in meaning, abandon all preconceptions & thoughts of usual grasp... you'll then be able to "rewrite" the book, and feel differently...
Mystery Sea

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