Time Being - “A Place To Belong” CD

Lovely minimalist ambient

The second album from micro-ambient composers Phillip Wilkerson and Jourdan Laik begins with the icy digital drone tones of “The Wind Has Called”. “Every Memory” is a more ethereal trip into the clouds at daybreak, and “From Where We Are” brings a piano element alongside the fragile drones. If any album release were tailor-made for the wee hours, or for the waking dream state, this is it. Wilkerson and Laik’s gentle and unobtrusive ambiences are both soothing and narcotic.

“Farther Worlds” is an awakening of sorts, with big ominous bass drones amongst the shimmery tones. “Here Is Life” is more typically ambient, with a shifting juxtaposition of darker elements with lighter, lilting fields of cinematic sound, and the finale, “An Infinite Home”, reminds of a superb Eno piece, a seamless and refined statement in minimalist ambiance. 

A beautiful release of gentle and evocative sound.

Spotted Peccary

Time Beingbook

Phil Wilkerson wordpress

"The Roots Of Drone" 2xCD

This compilation does an admirable job collecting samples of some of what could be loosely considered "drone" music's history, dating back to 1926. Of course, it could be debated that drone-based music goes back centuries (and indeed it does), but as for modern music, Chrome Dreams (who are usually busy producing unauthorized DVD biographies of pop and rock stars) has done a fine job.

From the old-time Texas folk fiddler, Fiddlin Eck Robertson to the Irish bagpipes of Pipe Major Macintosh, this 130-minute set also touches upon classical (Wagner and Haydn), blues (John Lee Hooker, Muddy Waters, Bo Diddley, Howlin Wolf), jazz (Miles Davis), gospel (James Shorty & Viola James Congregation), Indian, New Guinea, Tibetan, and Romanian musics, modern classical (La Monte Young and John Cage's infamous "4'33"), and tons more. It's an entertaining and lively set with a wide array of sounds, all sharing one common thread -- a predilection for sustained, monophonic harmonies and notes. 

My sole complaints with "The Roots Of Drone" are in the liner notes, which are, sadly, a tad brief, and the packaging design, which looks far too "modern", flashy and inappropriate for the subtle and historical content of the music. (Chrome Dreams)

Brian Eno - "1971-1977 - The Man Who Fell To Earth" DVD

An informative and enlightening discussion and assessment of Eno's time in Roxy Music, and his subsequent solo career, "The Man Who Fell To Earth" is another unlicensed, unofficial documentary from Sexy Intellectual. But this one works well, bringing together the usual array of journalists and collaborators to analyze Eno's career and musical works.

Robert Rich, Jon Hassell, Roedelius, David Toop, and Robert Christgau all appear to discuss Eno's pioneering sounds and influence, so credibility isn't an issue. Also examined are Eno's short-lived Obscure Music label, and the lineage of his best-known contribution to modern art, "ambient" music, tracing the inspirations back to Erik Satie, John Cage, LaMonte Young, and others. As well, Eno's work with Bowie, Cluster and Harmonia are examined, with some fascinating anecdotes from those who were there.

In all, a very well-done documentary, only missing a companion disc with a look at Eno's later years. Maybe that one's in the works?

Finally, I need to give props to the artist(s) who created the animations and films to accompany all the Eno sound samples here. The visuals were appropriate and well-attuned to the sounds. Great work! (Sexy Intellectual)

Eno info site

Eno site (more official)

Earth - "A Bureaucratic Desire For Extra-Capsular Extraction" CD

Among Olympia, Washington's most innovative and influential acts, Earth are immense. A major inspiration on one Kurt Cobain (who, incidentally, appears here), this is a reissued collection of early work from 1990, making this the earliest recorded Earth material. In contrast to the band's more recent atmospheric work, this is low-and-slow drone/doom metal. Think an instrumental Melvins, and you'd be in the same family. "Ouroboros Is Broken" is 18 minutes of throbbing, ebbing riff and Alesis drum machine -- like Godflesh all strung out, and in slow motion. 'Geometry Of Murder" is doom-grunge of the first order, while "Divine And Bright" has some mumbled vocals from Cobain. But that's just window dressing, as they say. The focus here is on the huge ten-ton riffage and alternating drone and pummel. "A Bureaucratic Desire" is Earth at their most monumental and gigantic. (Southern Lord)

Earthspace

Earth site

Aun/ Habsyll - "Split LP"

This split vinyl won't be something for everyone, but anyone with a taste for noise and dark, extended doom/drone atmospheres may find plenty to envelop themselves in. Side A is by Montreal's Aun (aka Martin Dumais and Julie Leblanc) Their opening cut, "Druids", is 13 minutes of foreboding atmospheres and plodding death rhythms. Imagine an instrumental machine-doom-metal, monolithic and single-minded, and you'd be in the ball park. Their second track, "Fall Out", is a more spacious attack of sinister machine rhythms and droning guitars with a rudimentary melody shining through. Decent work, but rather forgettable in the end, especially after hearing Side B.
French heavy doom/noise/drone act Habsyll are less subtle on their side, with their monster 23-minute "IV", which rivals acts like Sunn 0))) or Earth in sheer terms of width and girth. It's a slow, grinding, downtuned guitar crunch, with chaotic drums keeping things lively. The spastic, agonized vocalizations are feral and frightening, in such a good way, too. Picture, if you will, classic early SWANS meeting black metal, and Habsyll are threatening like that. Refreshingly intense and confusingly evil sounds to scare your neighbors and antagonize your roommates equally! (Public Guilt)

Aunspace

Habsyllspace

Gnaw Their Tongues - "All The Dread Magnificence Of Perversity" CD

Now this is an imaginative and evocative mix of extreme sounds. Imagine, if you will, the typical monochromatic black metal sound, then mix in a swollen, gangrenous slab of proto-ambient classical-drone bombast, and what you get? Gnaw Their Tongues know, as they create precisely that. The opener, the provocatively-titled "My Orifices Await Ravaging", is a torturous and dramatic nightmare soundtrack that's infinitely more horrific than any scary-movie score I've heard in many a year. Indeed, GTT creates brutal symphonies of slow, doomy grind infused with industrial-noise, sadistic samples, symphonic elements, and layered drones. But where groups like Sunn O))) create epic, slow-burn doom/drone manifestos, Gnaw Their Tongues are more hyperactive and paranoid, whisking the listener away on a voyage into the minds of perverts, murderers, and the criminally insane. It's not a nice and comfy place, needless to say. "Verbrannt Und Verflucht" is a stunning assault of malevolence, joining a funereal dirge with an oppressively blackened sense of palpable tension. Other cuts, like "Broken Fingers Point Upwards In Vain" wash over the listener with a threatening sense of foreboding. Gnaw Their Tongue's richly cinematic tones are awash with dread and fear. Enter at your own risk. (Crucial Blast)

Gnawblog

Gnawspace

Ethernet - "144 Pulsations Of Light" CD

Using sound as a meditative or healing instrument isn't a new idea. In fact, this is likely among the earliest applications for music itself. Tim Gray (who is Ethernet) seeks to re-establish the self-healing and trance-provoking elements of ambient sound on his debut here. Beginning with the drones of "Majestic", Gray's shimmering pulses are grounded by an underlying 808 backbeat -- a singular, simplistic rhythm. "5 + 7 = 12" is almost melodic, as a lilting loop is placed among the electronic textures and field recordings. That dubby back-rhythm, combined with the trancey natural landscapes, reminds me a bit of the landmark work of Wolfgang Voigt as Gas, although Ethernet is more drone-based and hazy/distant. "Summer Insects" drops the beats entirely, and becomes even more effective and organic, like a paean to a lost rainforest. "Seaside" is a calming affirmation, while "Kansai" is more upbeat. The closer, "Temple", is a celestial gem that sparkles and gently lulls. This is some righteously beautiful and timeless work, and here's to hoping that Ethernet can continue on this splendid, nature-oriented path. (Kranky)

Ethernetspace

Tanuki Dreams site

Greg Davis - "Mutually Arising" CD

His first Kranky release in (gasp) almost 5 years? Davis has evolved much in his "absence". Indeed, "Mutually Arising" is a set of 2 extended tracks, both with similar trajectories, but altogether different endpoints. "Cosmic Mudra" is nearly 29 minutes of buzzing, carefully-layered drone. To an untrained, or impatient ear, this could be construed as single-note nonsense, but upon closer "deep listening", this drone is a combination of sounds that gently twist and envelop itself again, like an ouroboros circle. The drones become intense at around the 18 minute mark, and it's really quite an overwhelming experience. "Hall Of Pure Bliss" runs at 22 minutes, and it's a more spacious, lilting, almost ambient journey, It really doesn't get much more minimalist than this, thank you John Cage. But Davis' ear is on a spiritual angle here, as evidenced by his titles. Is this meditational music? You betcha. Imagine opium dens and alternate planes of consciousness, then imagine the soundtrack. This is that. (Kranky)

Greg Davisplace

Autumn Records (Greg's personal label site)

Sunn O))) - "Monoliths And Dimensions" CD

Hailing from Seattle, this prolific duo (Stephen O'Malley and Greg Anderson) has undoubtably been one of the most well-regarded acts the area has produced in many a year. Sunn O))) specialize in a special gray area that skirts the lines between ultra-heavy doom metal and avante-garde noise/drone. You think Black Sabbath were slow? These guys truly CRAWL, with long, drawn-out, down-tuned bass chords and a variety of spooky effects that could be the soundtrack to someone's mental breakdown. This album, the group's seventh (if you don't count their numerous singles/EPs/collaborations) ups the ante with plenty of guests and some larger cinematic moments. The 17+ minute opener here, "Agharha", incorporates narration from Mayhem's Attila Csihar, creating a texturally rich soundscape complete with horns and grinding strings -- impressively intense and otherworldly. "Big Church" incorporates a Viennese woman's choir for eerie effect (think a classic Hammer horror film, maybe). "Hunting And Gathering (Cydonia)" is almost like a symphonic black metal minus the drums, and again features Csihar's masterfully evil vocals among the blackened guitar grind and, get this, brass! The closer, the 16-minute "Alice" is almost a crescendo of slow, brooding strength, told through fuzzed-out, sustained power chords and horns. It ends on an almost hopeful, even jazzy note. 'Monoliths And Dimensions" is as apt a title as you're gonna get. This is real. I love it. (Southern Lord)

Gregg Kowalsky - "Tape Chants" CD

Oakland, California-based drone/tone composer Kowalsky here shows a tremendous shift from his previous Kranky release, moving fully from the digital domain to purely-analogue sources. 'Tape Chants' utilizes cassette players, tape loops, oscillators, and acoustic recordings, and the hazy, gauzy sounds here are prime ambient material -- overall fairly static and (to jaded ears like mine) really quite relaxing and meditational. 'VI-VII' almost approaches a rhythmic direction, as several pitched pulse-tones (or loops) are layered together to create a rudimentary structure. 'IX' uses effected piano alongside lo-fi noises to evoke a mood of solemn nostalgia -- like a musty old photograph. The closer, 'X-XI' is closer to the noise of a furnace, insistent and jaggedly abrasive. Overall, 'Tape Chants' proves to be a curious and challenging experiment for Kowalsky, of which I'd expect greater fruits in the future. (Kranky)

Gregg Kowalsky website

Kowalskyspace

Olafur Arnalds - "Variations Of Static" CDEP

With just his second release, Icelandic composer Arnalds creates a vibrant and intimately beautiful set of 5 instrumental tunes that combine the austere classical melancholy of Arvo Part with the modern sounds of glitchy electronica (think Autechre or Aphex Twin). It's an incredible (and all too-short) collection, embracing rich and sonorous strings, bittersweet piano, and, on occasion, looping yet subtle textural manipulations. The first track, "Fok", marries some minimal booms and skitters to the sensitive string/piano foundation, and "Lokaðu Augunum" is a stunning treat in the ambient tradition of Stars Of The Lid. As a complete work, this 21+ minute release flows effortlessly, ripe with emotion and delicacy. 'Variations Of Static' is a mature, thoughtful, rich, and stylish set of warmly evocative music that shows Olafur has quite a future if he can keep up this kind of quality. That's a full-on recommendation. (Erased Tapes)

Olafur's personal site

Pan American - "White Bird Release" CD

Mark Nelson (formerly of Labradford)'s 6th album as Pan American is a superlative and evocative set of dense, moody, and atmospheric proto-ambient soundtracks. And with the addition of drums, vibraphone, and bass to some tracks, the approach seems to lend an almost 'band' feel in spots. The opener, 'there can be no thought of finishing', is an ambient glacier of tones and shoegazey-distant vox. 'for aiming at the stars' brings on a dubby bass rhythm to accompany the Fripp-ish guitar textures. 'both literally and figuratively' continues the lonely, natural travelogue with wide-open vistas of blurred guitars, bass, and drums - and accented by whispery vocals. This is perhaps the closest Nelson's Pan American project has come to making 'pop' music in the broad sense. 'how much progress one makes' harkens back to Pan American's earlier works - a submerged minimal electronic pulse that seems like an underwater approximation. The closer, 'in a letter to H.G. Wells, 1932', is a gentle drone that eventually builds itself up to the point of being a cacophony of electronic static. If Pan American seeks to paint expansive visuals in sound form, then 'White Bird Release' is unequivocally a success, conjuring a sense of nature with a hint (or warning) of something bigger than us. This is some truly beautiful music that follows no formulas, yet ends up affirming what is really important about life - the journey. (Kranky)

Pan American info@kranky

Labradford site

Windy & Carl - "Songs For The Broken Hearted" CD

Michigan's favorite dream/drone duo Windy & Carl are unheralded masters of effected, blurry, post-shoegazer soundscapes. This, their first major release in a couple of years, is an ode of sorts to love, both the beauty and bliss of it all, and the doubt, blame, and pain of it. Functioning much like one extended, hypnotic piece, 'Songs....' encompasses everything from tonally-layered driftworks ('the lulling When We Were') to gentle, fragile, and emotive subtlety ('Champion', which includes some hazily distant vocals). But if you read this as being some kind of lethargic release, you'd be wrong. Windy & Carl's freeflowing and gorgeous sounds are like meditations - organic and transcendent, and the 71 minutes here flow by far too quickly. Folks like Spiritualized or Mogwai take these sounds and put them into more rock-oriented frameworks, but W&C keep it pure, distilling the sounds of life into their barest essences, without concessions for melody or rhythm. Absolutely lovely, otherworldly music and full-on recommended. (Kranky)

Windy & Carl

Raglani - "Of Sirens Born" CD

Imagine my surprise to learn that this amazing and powerful set of drifting, narcotic kraut/dronescapes were created less than 4 hours from me - in (mostly) sleepy St. Louis, Missouri! Come to think of it, I've probably been in the company of Mr. Raglani at some shows in recent years...

Anyways, composer Joseph Raglani has been active with what local papers call 'noise' for some time, but this all-too-brief (35 minutes left me wanting more) selection of free-flowing, tonally-balanced sounds is far too nuanced to be consigned to that broad category. Inspired by the films of the great Werner Herzog and other filmmakers as much as by music, Raglani's organic-sounding tracks aren't so much melodic or rhythmic as evocative - mysterious and haunting, sometimes dark and other times light and full of life. These 5 tracks flow together nicely, actually being more involved and involving than simply ambient. These are wonderful tones to imagine and dream with. Maybe you like to meditate? Even that seems possible here. Congrats to Joseph on a supremely enjoyable debut journey on Kranky - may there be many more! (Kranky)

Raglani website

Pegasus Farms Records (Raglani's personal label)

Bird Show - "untitled" CD

Chicagoan Ben Vida has enlisted the help of some like-minded Kranky roster-mates (drone master Robert AA Lowe of Lichens, laptop composer Greg Davis) for his third LP as Bird Show. But his now-trademarked tribal/primal/psychedelic freak-scapes are still just as subtle and effective as before.

'Clouds And Their Shadows' could almost be described as a blissed-out bit of space-jazz (with regards to Sun Ra), but beyond that, Bird Show's sound is that of a primitive trance/ altered state, with elements and instruments from distant cultures siphoning through the blurry haze. The only obvious structure is the rhythm, which is generally congas or hand drumming, and there are voices here (which are non-lyrical), which could very well be summoning ancient spirits. 'Green Vine' is more jammy tribal out-jazz, whereas 'Berimbau' is an exotic raga/drone that floats and drifts into the subconscious quickly in it's brief 2-minute span. A fine and immersive selection of explorations into inner space. (Kranky)

c. reider - "Long Defeat Variations"

A few years ago, veteran sound sculptor and Vuzh label-master c. reider recorded a set of improvised ambient sounds in an old abandoned factory, and released this online to a fair amount of acclaim. That recording forms the basis for this remix project, and it succeeds handily where most traditional remixes don't. These 4 extended pieces all run at over 14 minutes apiece, and none feature any semblance of rhythm or easily-discernable structures. 'Long Defeat Variation one by Mystified' is a tense, metallic drone work that summons the dark and arcane vibes of prime Organum or Nurse With Wound's majestic 'Soliloquy For Lilith'. Beautiful and mystical, somehow. Reider's own mix is more dirgey, dank (that's a compliment), and nearly industrial (in the classic sense), suitable for use in a horror flick, perhaps. Reider's drones and deep reverberations summon visions of ghostly apparitions and eerie landscapes. Well-done. The third mix, by another Godsend/Goatsend favorite, Kirchenkampf, brings in percussive elements (what sounds like chains and metal being dropped/dragged/smashed) and smooths it out with reverb, creating an interesting mesh of ambience and unease. The final mix, by Gurdonark, is a more subtle and ambient variation, with light, swirly tones and shards of drone - more in a minimalist spirit. Overall, 'Long Defeat Variations' is a superlative release of contemplative and meditative ambience, with a dark streak that's undeniable and an ominous foreboding that's somehow inviting. (Vuzh Music)

This wonderful release (and others) can be downloaded free (and legally) from the artist here

Valet - "Naked Acid" CD

The second solo album from Portland guitarist/vocalist/inner space traveler Honey Owens, 'Naked Acid' is a brilliant piece of twilight psychedelia with some nicely out-there touches. But unlike others (not naming names), she wisely never fully loses sight of the songs themselves - pulling them back in when they wander off too far. Owens' drifty, distant vocals are seemingly pulled from another ghostly dimension, and her guitar is both melodic and ferocious, often at the same time. Pieces like the unforgettably-titled 'Fuck It' are wispy slices of proto-ambient blues, if that makes any sense, with only a spartan drum amidst the layers of guitar noise and lysergically-driven effects. 'Fire' almost returns to Earth (hah) and is as close to a pop-song as Owens is likely to pen, while the closer, 'Streets', boasts some surprisingly jacked-up some drum programming alongside the jagged drones. Astoundingly beautiful and individual work here. (Kranky)

Autistic Daughters - "Uneasy Flowers" CD

Drifty and sparse, yet melodic indie rock kinda sounds from New Zealand guitarist/vocalist Dean Roberts and his band. 'Uneasy Flowers' blurs the lines between your standard guitar/bass/drums/vocal kinda setup and more bare-bones minimalist construction, much like the wonderful Low and their mellow, shimmering moodiness. Similarly, Roberts' vocals and lyrics are somber and soft-spoken, yet more prominent and focused than in his past work. 'Uneasy Flowers' is a thematic album, with all tracks linked together lyrically. The subject is a character called Rehana, whose path is traced and described as a nomadic and ragged figure with a sort of tragic outlook. Looking for something a little on the sad and lonely side? Autistic Daughters provides the soundtrack, with a nicely subtle air and plenty of rich, gauzy textures. (Kranky)

Cloudland Canyon - "Lie In Light" CD

Cloudland Canyon - "Lie In Light" CD - The second long-player from this intercontinental (Brooklyn/Hamburg) collab continues in their tradition of way-out kosmische-kraut grooves and trance-drones. It's a handily modern mix, densely-packed with stoned-out rhythms and trippy effects. 'You & I' is a cool Suicide / Neu! homage of sorts, overlaid with humming, buzzing drones and a robotik, motorik pulse. 'Scheisse Schatzi, Auf Widersehen!' is a glowing firefly engulfing the skyline with energy synthesized from deepest inner space, while 'Heme' is a light and airy flight over the trees at sunset after a satisfying day of imbibery. Come to think of it, 'Lie In Light' echoes this narcotic, drifty vibe, in an almost Spiritualized sort of way, and 'Mothlight, Part 1' continues in this melodic, rock-oriented fashion. Really astoundingly resonant and brilliant work, tailormade for those who wish to 'travel' a bit with their music. (Kranky)