Milieu

This is a compilation that was originally released on a CDR label based in the Netherlands called Wide Area Networks. The label now appears to be defunct, and is re-releasing tracks as MP3s, which is rather kind of them.

The high points for me are Ganzfeld - Doppelgänger, Mikrosopht - Wearmi (who also has releases on Hippocamp), Pellucid - Phoonlab, and the track by label founder Stefan Koopmanschap - .net.

Ganzfeld also have a good track up on their site called Come With Me.

“Umi no drone” (Drones of the sea) by Hakoneko, released on mimi, is a set of drones using various elements of the sea as a metaphor, and reminds me in many ways of Biosphere’s Autour De La Lune. The soundscapes are sombre, slowly evolving, low frequency pieces. The titles for each track work well as directions for the imagination of the listener, helping to make the experience more vivid, such as Plankton and Jellyfish.

“Umi no drone” makes for delicate listening, I found it suits headphones and a quiet environment. Hakoneko manages to make these drones encourage calm and contemplative thoughts, rather than the texturally rich and emotionally dry drone-based music that seems to be common lately.

I really love Entity, I can always rely on them for something contemplative and immersive. Cisfinitum - Landschaft, by Russian composers E. Voronovsky and A. Tzarev, maintains the tradition. Landschaft, a set of expressive and dark drones, was originally released on the Insofar Vapour Bulk catalog in 2000, and is now available for free download.

Each track seems to embody a particular set of feelings, generally relying on drone with heavy reverberating sounds in the background. Inland begins with a crisp and delicate synth, melancholically cycling through chords, becoming stronger as the track progresses. Intense moments of suspension and release give way to more varied experimentation as Inland blends into its destination.

Landschaft I and II are more raw, with heavy reliance on bass and subtle distortion, somewhat reminding me of Deathprod. As we move throughout the landscape, we can hear distant sounds of life, such as voices and perhaps imaginary machines. The movement is gentle, sometimes pausing as if Cisfinitum are playing with time.

District Delta appears more sorrowful than melancholic, as if Cisfinitum’s journey has ended at an old, dead place. Although, towards the end of the track, it settles in a more peaceful way, as if a breeze has picked up and the tension has gone.

Landschaft translates as ‘landscape’, which I find quite apt when thinking about these four pieces. I’m glad Entity have made it available for download, as perhaps I wouldn’t have heard it otherwise.

Lomov (Axel Bergk) has releases on a few netlabels, such as Thinnerism, and Lapilibrium is his latest release. Inspired by a collection of stones, Bergk explores his personal philosophical concepts and aesthetic values, using very soft minimal chord stabs and subtle rhythm programming.

There’s a lot of filtered clicks bouncing around in Lapilibrium, somewhat reminding me of the sound stones actually make when you knock or rub them together. Hollow clicks morph into deep percussive sounds, slowly evolving throughout each track. I find Aquamarin, Rhodonit and Chrysopal the most enjoyable tracks, especially the way the notes occasionally change without retriggering in Rhodonit.

Lomov takes time with his ideas, and although some people may be put off by the concept album style, I like the consistency of Lapilibrium. Occasionally, the repetitiveness of the tracks makes them feel more ambient, drifting in and out of consciousness. Lomov doesn’t rely on any surprises as musical devices here, he allows the forms to stand for themselves, and I assume this was his intention judging by the elaborate write-up on Stadt Gruen’s site. Also, make sure you check out the additional artwork on the release page.

Allthatfall’s “Hopecrash” on Luvsound may seem more appropriate as the weather gets warmer. It’s one of those warm-sounding electro-acoustic gems you occasionally find released on netlabels, if you dig deep enough (that Skytree EP was another recent one that I reviewed here). And it’s replete with plenty of quirky sampled instruments and faux-hiphop drum loops.

The title track is by far the strangest, and at times sinister. I don’t think it really reflects the release as a whole, however. “We live outside” is my favourite track, I like the way the vocal samples sometimes jump about in the background, with interesting tremolo effects making them seem more delicate. “For Amanda” is another strong track, playfully rocking out with acoustic guitars and some kind of musicbox-sounding instrument. “I Missed You All Week” uses this great little melody, with glitchy drums and sublime arpeggios on acoustic guitar.

Take some time to listen to this, and keep an eye on Allthatfall.

Peninsula - Process your power on Eastern Recordings’ XP sublabel, represents some of Technotourist’s adventures away from techno into more unusal territory:

Under his Peninsula monicker he sets out on a quest to broaden his musical and technological barriers. Peninsula is not here to break new musical ground for other people, Peninsula is created to explore the mind and soul of the creator.

He blends timbres you might often find in more avant-garde styles of electronica with song structures, rhythms and chord progressions usually associated with techno or house. I found “Fragmented Files” to be the strongest example of this, with its repeated filtered 303 sounds and percussion bringing to mind acid house, and a slight dub-feeling in the bass drum and bassline. “Will this end” is similar, although with slightly less Plastikman-style pads.

“Process your power” is a consistent and professional-quality EP, and if your personal tastes are more unusual than the techno generally released on netlabels, you should find this quite refreshing.

Skytree - The Dagda EP (named after a Celtic god), released on Earstroke, continues Skytree’s exploration of slick beats and acoustic sounds.

The first track, 1000 Miles from Everywhere, has a delicately cut-up guitar with tasteful reverse effects and delays, something Four Tet fans will enjoy. Choric Lumina features vocals from Monicha Ulrich, which have been chopped and sequenced in a similar way to Orbital’s trademark sound (remember Alison Goldfrapp and Kirsty Hawkshaw vocals on some of their best records?)

Stranger in a Strange Land sounds more medieval, again with cut up drums and guitars. Cellos reinforce the chord progressions, and there’s an excellent drum solo towards the middle. If you’ve read much about Four Tet, you may know that he sampled a lot of folk records for Rounds. I’m not entirely sure where Evan Snyder gets his samples, but I’m assuming he plays his own instruments or uses multi-samples, which somehow gives his work an edge I enjoy considering it’s a netlabel release.

The last track, Sauntrai, seems to drift between an ancient Celtic fantasy and asian music. It’s consistent with the rest of the EP, but it highlights my general feeling of the release: there’s definitely something enjoyable in the subtle ambiguities you find as Skytree drifts between influences, styles and genres.