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Vital Weekly 703 + 704

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In Vital Weekly 592 I reviewed a self-released 3"CDR by a band from Brighton called Vole. Now they are renamed Viv (spelled as viv) and I learned that the members of Viv played in such bands as Willkommen Collective, Hamilton Yarns, The Mary Hampton Band, Collectres and the Tacet Ensemble. Here the music is a bit more extended which gives a much clearer idea of what they do. Well... clearer... that is to say... not really. Viv is one of the stranger bands I heard recently. I hear a trumpet, marimba, drums, cello and/or various other stringed instruments or percussive ones. The music is one of the stranger mixtures of jazz, improvised music, a bit of folk, modern minimal music but also hardcore free jazz or even a bit of (acoustic) noise. Electronics seem to be gone here (if they were present at all on the previous release). Cinematic music at large, and every track has its own mood and style, and each of them catches the listener by a small surprise. It makes this quite a mixed bag of music, that somehow however makes quite a lot of sense. Nice mood music. (FdW) Address:


BLACK TO COMM - ALPHABET 1968 (CD by Type Records)
The new album of Black To Comm (Marc Richter of the Dekorder label's own musical outing) is something of a step forward. In his previous work, which I am sure I didn't hear all, the drone in long form prevailed, but here he plays ten tracks in some forty five minutes. At his disposal are a home made gamelan, small instruments and loops gathered from a collection of ancient vinyl and 78 rpm records. An odd collection of shorter songs ('for want of a better word' Richter says), which drifts in all kinds of directions, world music, drones, techno and modern classical, that perhaps on paper doesn't seem to make much sense, but the album is oddly enough quite coherent. Perhaps this is due to the fact that the pieces are all quite densely layered. No track here seems to consist of just a few sounds and loops, they seem massively stacked together. When things become more noise based, such as in 'Void' its less exciting, but the scratchy orchestral loops of 'Hotel Friend' or the kick drum of 'Forst' along with glissandi of strings (reminding me of Gas actually) are very good. A great album, not a daring move from the old Black To Comm actually, but a further expansion on the music he already did. A road to explore further, I should think. (FdW) Address:


Long time, no see for Belgium powernoise-project Imminent. But hell, does he return on this one! Imminent is one of the true legends of the European powernoise-scene, a genre characterized by the hyperactive blend of up-tempo industrial-techno and abrasive noise-textures. Originally formed as Imminent Starvation, Oliver Moreau became one of the important acts in the early days of important German label Ant-Zen Recordings with his mindblowing debut "Human dislocation" (Ant-Zen, 1997). After his second full-length as Imminent Starvation, Oliver Moreau destroyed his mixing equipment and gave away the pieces as part of a limited edition of the "Nord"-album. After that he changed his
name to the new moniker: Imminent. Despite the name change and the many years of silence, Oliver Moreau still knows how to create sonic earth quakes of furious breakbeat-textures and noisy dronescapes. Despite the fast development of harsh electronic music over the last decade, Mr. Moreau makes it very clear on the album titled "Cask strength" that he has managed to follow the progression of the scene, resulting in one of his strongest releases to date. Nail your speakers to the floor and get ready for 64 minutes of majestic technoid aggression. This album will rock your house! (Niels Mark) Address:


There are three musicians behind Luminance Ratio, two of them you may know. Eugenio Maggi is better known as Cria Cuervos and his collaboration with Paul Bradley and Maurizio Bianchi, Andrea Ferraris of Sil Muir, Airchamber 3, Ur, Ulna and John Russel, who team with Gianmaria Aprile of Ultraviolet Makes Me Sick and the Fratto9 Under The Sky label. They are armed with array of sound devices, such as guitars, cymbals, field recordings, brushes, contact microphones, drones, turntables and objects. Yet this album isn't a pure work of drone music, per se. Its rather a delicate combination of drone music, field recordings, microsound but with a healthy doses of improvisation too. It seems to me, but I admit I might be wrong that these are extensive improvisations, recorded to multiple tracks which were mixed later on. Its Aprile who gets the credit for mixing here and he did a great job. He leaves the improvised music in tact, but brings structure to the table, giving the drones a place to breathe. Great textured music, a delicate mixture of guitar music with an open strumming, fingerpicking and slide playing, with gorgeous drones and field recordings. It makes the whole thing quite loose and open, like fresh breeze coming in. Excellent release, that ends with Paul Bradley doing a fine remix using all the separate elements. (FdW) Address:


Hot on the heels of last week's 'Alt' release, Frank Rothkamm now presents the first installment of the 3CD + 1DVD 'Tetralogy'. In this first work the city of New York plays a central role, or actually the many people who lived, translated to music. No ambient music here like last week, but works from the analogue synthesizer, that depict quite well the hectic of the city, the crawling of so many people on such as small space. Sounds bouncing in all directions, but also very occasionally take back control and we see the contours of mighty sky scrapers, but also of much smaller buildings. Like always Rothkamm knows how to surprise me with his music. This particular release wasn't the best I heard from him I must admit, it sounded a bit too easy, too much like 'Music From Forbidden Planet' type of synthesizer play, but it has some nice moments. But in his catalogue of music, this is surely another odd-ball. Odd-ball admitst other oddities. This release lasts exactly 33 minutes and 33 seconds, in an edition of 333 copies, and released on 10/10/09 - the next one on 11/11/09 etc. - Numbers are great. (FdW) Address:


MIA CLARKE & ANDY MOORE - GUITARGUMENT (CD by Hellosquare Recordings)
CANDLESNUFFER - MIMOSA (CD by Hellosquare Recordings)
Two sides of the improvised music coin. First there is Andy Moor, of The Ex fame who teams up with Mia Clarke, or Electrelane of whom I never heard. In April 2008 they played the Zaal 100 Cafe and that's about the extend of information we have. Two pieces, one that;s about twenty minutes and one that is about thirty. So far the facts. Both play guitar in a pretty ordinary fashion. No objects on strings, no carefully constructed silence, onkyo styled improvisation, but a duet of two guitars being played in a rock fashion. When things leave the rockist path, the strings are tortured to make strange abstract figures of sound. Otherwise its' strumming on end, in quite a minimal fashion, like Branca reduced to two guitars. No wall of sound approach either, but a strong interplay. Maybe the ride is a bit long altogether, and could have been say fifteen minutes shorter, but throughout its a pretty strong album.
Behind Candlesnuffer is David Brown from Bucketrider and from the trio Pateras, Baxter & Brown, and this new album can be seen as a companion to 'Wakool', released by Room40 (reviewed in Vital Weekly 587). He too plays the guitar, but this one is prepared. He also plays the prepared bandoura, fretless tenor banjo and prepared ukelele. Again we get that nice clean sound, as on 'Wakool', and Brown hits, plucks, bends the strings, something placing an emphasis on a sound by using the footpedal to get a somewhat longer sustain. Wild as before, but without that somewhat hidden country & western styled playing as heard on 'Wakool'. Listening to these twelve pieces its hard to perceive them as twelve different tracks, its more like one track, which is an excellent showcase for his talent on two instruments per track. Like it says on the cover: a record where Candlesnuffer accompanies Candlesnuffer. Overlaying one improvisation with another one, creating a not too densely layered sound. I can see a whole future in this: the next record should have three tracks being overlaid, and the fourth one, etc. No doubt that will lead to some great music. I can't wait. (FdW) Address:

Normally I'd say this is a bit much. Why have a CD and a DVD, even when both have different pieces? Why not a double CD, or a double DVD? I can see however the point of releasing a Greg Malcolm DVD. I have been telling before but his concert at Extrapool years ago, is still on one of the best I ever saw there (along with Arm and Taxi Val Mentek in case you are wondering). I think I must have raved about that before. Malcolm plays three guitars at the same time. One in his hands, two on the floor. Those two are prepared with objects he can play with his feet, to add a percussive element to his music or to use an e-bow. For me Greg Malcolm is the genius when it comes to finger picking music and preparing his guitar. If you have never heard his music or seen him play, then I suggest to start with the DVD. Malcolm sits in a room, surrounded by his guitars and toys and shows what he can do. However its not a display of technique. What matters to him is the music and the pieces he is playing. Melancholic, careful, introvert and introspective. He sits and plays his guitar, with his fingers, with an e-bow, with a ruler, a cello bow, little motorized objects and more. Blues like, americana, but also improvised and experimental. Maybe its a bit much to have the DVD and CD in one go, but let's say on a sunday afternoon you watch the DVD to see what it is all about and then in the evening, while having a good glass of wine, you listen to the CD. You are now able to close your eyes and enjoy the tranquil beauty of the music, all the time knowing how it was created. Great release. (FdW) Address:


SOLO SENZA TESTA - SKULL OF SADE II (7" by Kalligrammofon)
One can doubt wether I reviewed all releases by Johan Gustavsson, also known as Tsukimono, but usually I was taken by his music. I associate his music with dark ambient with a strong influence of noise music, but here he takes me by surprise. Eight tracks on this relatively short album, but what a variety of music. There are really mean noisy bits, but also piano pieces and even pop like pieces. The one stand out piece, among an already lot, is 'Gloomy Sunday', with guitar playing and a vocal taken from an old 78 rpm (I think). What a lovely piece. But the rest is pretty refined too. This is melancholic music in optima forma. Think Oren Ambarchi, spiced with a bit of noise and a bit of piano. So far his best album, as far as I can see.
More Tsukimono on a 7". 'Gotta Sing' on the a-side is a heavy beast of improvised guitar music, multi-layered to create an intense sonic overload.
Solo Senza Testa is Jonas Rosen, who was in another life called Asterik* and Female Anchor Of Sade, both of which I don't seem to remember well (if at all), but under his new banner he explores dub music. Both of these pieces are inspired by Marquis De Sade. 'Skull Of Sade II' has a nice bass line, melodica and sounds indeed like pretty decent dub song, with drums covered in echo. In good dub tradition on the other side there is a version, which takes the material even more apart, like a total deconstruction of dub. Great 7" in the best dub tradition, which will probably never reach Jamaica.
On a C20 cassette comes a re-issue of 'Sally Hill EP', which was originally released in 2005 (as a 3"CDR by Kning Disk) by Thomas Ekelund, who works as Dead Letters Spell Out Dead Words. One could say that Dead Letters Spell Out Dead Words is a microsound/ambient glitch project, which take, like so many others, notions and connotations from the world of popmusic, in this case sixties girl groups, which if it wasn't written on the press release, I would have never figured out. Minimalist drones built from whatever original pop song, glitchy and refined. Nothing special under the microsun, but in the hands of Ekelund this is well taken care of. Nice one indeed. (FdW) Address:


When you reach for super fame, then your work will never be forgotten. Maurizio Bianchi released 'Armaghedon' by himself in 1984, and then was re-released on CD in 2000 as part of the second MB boxset released by Alga Marghen. Now a new life begins - maybe that's the whole point of an armaghedon I was thinking, with re-issue on LP by Hot. Maybe its a bootleg? Maybe its relevant. This is the Maurizio Bianchi I like! Far away from the industrial noise from his earlier years, he moves here into... post nuclear landscape music. Below there is the some kind of wicked ambient music, and on top, yet still pushed to the end another synth pushing sounds through a delay unit. And perhaps voice material as well. Music that is utterly minimal, but that is so highly captivating. Along with 'The Plain Truth' one of the early masterworks. Chilling music with the impact of nuclear fall-out.
The other LP is by Russian Tsarlag, of whom I don't think I ever heard. The label says is from the " prolific Providence showman/illustrator/film-maker Carlos Gonzalez". Its dedicated to Lux Interior and Forrest J. Ackerman and contains some wicked wacky popmusic. All recorded through lo-fi means. A bit distorted rhythms, strange synth tunes and a voice from beyond the grave. It is recommend " To be listened on headphones at night", which I didn't do, well at night but without headphones. I can imagine this being creepy when played to the wrong heads with the wrong substances. If something, I'd say this is popmusic, but perhaps as we don't hear it too often. Maybe there is more out there like this, but then I don't know these. If its anything similar to this wacky stuff, this outsider view of popmusic, then I'd surely like to hear it. This album made me very curious. (FdW)


On other occasions I may have complained about the fact that the 7" format is not always the best medium for music, but on this particular instance its very much the right thing. Pilia is a member of 3/4Hadbeeneliminated, and has worked with Phill Niblock, Andrea Belfi, Giuseppe Ielasi, David Grubbs and many, many more. Following an one-sided LP for 8mm Records, which I didn't hear, there is now the second part of 'Last Days', with a third part to follow. Two excellent pieces for solo guitar, 'Midnight' and 'Endnight'. Solemnly, in despair. Soft slides, perhaps only interrupted by some crackles of the vinyl. Excellent late night mood music at work here. Two rounded off pieces that work excellent by themselves. If only I heard the previous part and surely can't wait for the next part. (FdW) Address:


"P.s. I love you guys and know you get endless music sent your way, but can you spell my name correctly on this one. Thanks". On at least three ocassions we spelled Matt Shoemaker's as Schoemaker, which means we also spelled it right a few times. No, it has nothing to do with 'endless' music being sent this way, but its a plain stupid mistake and seeing how often spell my name the German way and not the Dutch way, I know how painful it can be. 'Wayward Set' is a piece which was performed live on July 18th 2009 at the good shepherd center-chapel performance space in Seattle. I am not sure if we should believe there is any religious undercurrents in this music, but throughout this is a great work. Shoemaker uses feedback drones, modular synth and 'massed sheets of bioacoustic phenomena' (whatever those might be). He creates another fine trademark Shoemaker pieces of densely layered electronics, drones and some field recordings. The music is a bit more roughly shaped here, perhaps due to the fact that it is microphone recordings instead of line recording, but I must say it fits the music of Shoemaker pretty well, that rough edge on the drone thing. Excellent stuff. He should get over here and play some concerts. (FdW)


Earlier this year I wrote I never heard of Marinos Koutsomichalis, but I heard two of his works. 'Chro(m)a' (Vital Weekly 663), which wasn't bad, but not something I liked throughout and 'Anasiseipsychos' (see Vital Weekly 677), which I thought was a great release of excellent drones. I believe he now started his own CDR label and he released two CDRs to start with. 'Peripatetic' means traveling from place to place, and stay there for short periods and is also a reference to Aristotle's practice of walking to and fro while teaching. Koutsomichalis sees the city as a sound installation and thus he records the sounds of cities (Amsterdam, Athens, Berlin, York, London, Vienna, Brussels, Gent, Antwerp, Liverpool, Leeds and inside means of transport between these places), which he then puts together in one long piece of music, no indexes, so we don't know which city we are in. I must say its not a bad work, but its not a great one either. Pretty decent stuff of field recordings, ambient sounds from ventilations systems and street sounds. Like stuff on Gruenrekorder - unchanged field phonography. Nice but no cigar.
The other release was recorded in the control room of the Trevor Jones Studio in York, UK and it says in capitals on the cover 'This album has nothing to do with the original Trevor Jones studio sessions'. For this record he uses supercollidor and a Lexicon TC 6000 system and 'the focus was on how sound alters the aesthetic and physical qualities of the site and how it challenges its functionality. It was an attempt to establish a sonorous architecture within the room'. This is an electronic work which isn't as good as 'Anasiseipsychos', but certainly comes close. Great powerful drone music at work her - caution is needed. Its music that seems to working from a system. Once set in motion it moves back and forth between certain parameters, making small changes, seemingly on its own. Powerful in all its roughness but also in all it's silence, this is great mood music. Not drones that wash away like ambient music sometimes does, but forces itself upon the listener and pierce in your head. Great! (FdW) Address:


TOY BIZARRE - KDI DCTB 216 [DATA #4] (3"CDR by Ingeos)
The cover of this fourth installment shows us some text in a barely readable font, but the story is clear: Toy Bizarre uses sound material recorded in one square meter in Australia and creates twelve sound pieces out of that. This is the fourth one. It made me think. This piece, like its three predecessors, is a fine piece, there should be no doubt about that. A musique concrete collage of various sounds - no doubt written on the cover, but hard to read - which makes a piece that is at times loud, at other times soft, but essentially there is also not much difference between the four pieces so far. What does this mean for the next eight pieces. That is, I think, a bit of a problem, when choosing such an elaborate work in twelve parts. Will there be a change, a sudden, unexpected move from the past? A heavy drone piece, an all soft piece? To keep this series interesting and be a bit more different, change is necessary, I think. So far, so good however, and this fourth one is a pretty strong collage of processed and unprocessed environmental sounds. (FdW)


MARK BRADLEY - SHIMMER (3" CDR by Dust Wind Tales)
'Shimmer': the title is an apt one for Mark Bradley's three-inch opus. At times, these gradual, ambient compositions seem to glisten like Emeralds under the sun. However, what's glaringly obvious is that this time-limited format is ill-suited for a drone release with five tracks on it; call me a purist, but I find that these sorts of slow-moving, ambient compositions are at their best when they are allotted a healthy duration in which to unravel. With that said, 'Shimmer' proves Bradley to be a talented sound artist. The disc's "Ascension" trilogy is a hypnotic work of electronic drone; its strongest moment is the brilliant first part, which emulates the beauty of 'The Tired Sounds of Stars of the Lid', though Bradley employs a less melodic M.O. Haunting "Gone" could be the EP's most emotionally salient moment; in under three minutes, it chills the listener via droning organ keys, offering nothing more than vague feelings of sadness and finality. "Dawn," meanwhile, sounds like the sort of menacing interlude that might pop up on a Warp Records release; diverging from the formula established by the rest of 'Shimmer', it's a backmasked version of what could be a reverb-heavy Cabaret Voltaire track. As is the case with all of these compositions, whose formless symmetry renders them remarkably pliable, it can be enjoyed both forwards or in reverse. (Micheal Tau)

JASON KAHN - TIMELINES LOS ANGELES (CD by Creative Sources Recordings)
More Jason Kahn then? More Jason Kahn it is and perhaps its a bit odd to see him on Creative Sources Recordings (where artists pay along for their release), as I would think Kahn could release any label in the world, and not bring his own money, certainly when its a recording that is beyond the usual Kahn work, so not solo or in duo. 'Timelines' is a composition of his, in a graphical score form, which Kahn adapted for a concert in Los Angeles, and to be performed by a group he choose: himself on percussion and analog synthesizer, Olivia Block on prepared piano, Ulrich Krieger on alto saxophone, sopranino saxophone and live electronics and Mark Trayle (of The Hub) on laptop and guitar. This quartet play the graphic score of Kahn, which means that they more or less improvise their music along the graphical lines Kahn has drawn. It starts out with more or less 'loosely' based sounds, introducing each player and then things start to play together. Around twenty-five minutes sees then a sudden change, and for about twenty minutes things grow and grow into a mighty piece of electro-acoustic drone music. The third and final part is the complete anti-thesis of this, with music that is very quiet, a sort of chill-out, come-down music. Among the many releases of Jason Kahn another great one, but also one that stands aside his usual play. Excellent. (FdW) Address:


Two new musicians, at least for me, from Vienna, Johannes Tröndle and Andreas Trobollowitsch. The first plays cello, prepared cello and live electronics and the other tapes, electric guitar and bass, prepared melodica, inside radio and feedback. They call themselves Nörz, and they started out creating small pieces for radio stations, but since a year they also play live concerts. Earlier this year they spend one day in the Amann Studios to record their solo improvisations to be used as basic materials, but then it was decided to make combinations with these materials, by editing and recomposing and then the eight pieces on this album were created. The Schraum label deals with music of an improvised nature that is usually more regular than onkyo, but here by Nörz things are a bit more in the right balance, well, at least for me that is. The combination with electronics and acoustic instruments is right on here, and there is a lot of great tension in the small pieces (the whole thing lasts just over thirty minutes), with refined interaction among the players. Instruments are both played in a regular way but also as an object, along with interesting doodling of the electronics. Short and to the point. That's how we like these things. (FdW)


MIRT - MOST (12" by Catsun/Monotype)
The 12" format at 45 rpm, its an almost forgotten item from another world. In the 80s its was of course popular for the extended mix version, but also used in the world of more experimental music. Better sound quality, a mini album and such like. One T. Mirt returns to this format with a recording from 2003. He gets credit for 'prepared field recordings from the bridge, clarinet and accordion' and has two pieces on offer. 'Most 1' on side A is a piece of music which is very soft. It seems to be some field recording (we hear birds) and some highly curious electro-acoustic sounds which fade over into a set of repeating atmospherical loops of a low resolution. There it has a Basinski like quality. 'Most 2' is the more musical piece. It has some electro-acoustic sound, scratching a surface with an object type of sound, which is then placed in a loop, along with the loop of what seems to be a piano (must be the accordion) and a whole set of obscured electronics humming in the background. Two great pieces I'd say, showing two different sides of what this Mirt person can do and that both pieces are also connected. Excellent cover also and highly limited to 250 copies. (FdW)

A new work by Bedouin Ascent & Move D? Well, hardly. I have no idea what these guys are up to these days, but this 'new' record harks back to the good old days. Summer 1995 to be precise when they both played sets at Berlin's Love Parade, at the Interference festival to be precise. Riding on energy (and who knows what else), they two fill the a week of jamming along using a TR808, TR909, Korg MS-20, a Pro-One, the Frontline X2 and more such wonders of analogue technology and set these machines to work. These jams are of course all recorded, on the spot and there is no overdubbing or post production afterwards. Nice, somewhat crude techno music at work here. Highly spontaneous stuff. I must admit I quite enjoyed this, simply because it reminded me of the days when listening to this kind of music - hardly dancing to it. I have no idea how dance music evolved from this to what it is now, so its hard to say how this kind of music is received now, but apparently Bine Music thinks there is life for this kind of archeological music. It would be nice to see an update by both artists and hear how now, fifteen years after the fact, a collaboration between Bedouin Ascent & Move D would sound like. This for now is just a fine teaser. (FdW) Address:

Following the recent solo CDR release by Barry Chabala here are two new releases of him, and both are in duet with another musician. The first is with Lee Noyes, a percussion player from New Zealand, of whom I never heard. There are two pieces here, 'parts were recorded blind and layered' it says on the cover, and 'Yin (The Shade)' is unedited and '(Yang) The Squint' was 'edited by reduction'. Maybe one is a remix of the other, I thought? 'Yin (The Shade)' is a heavy improvised music piece, with lots of carefully constructed silence, and surface playing of the instruments. One of those that require your full attention, otherwise the beauty of it gets lost. Yet it never seem to have a moment of silence, as things are always buzzing and cracking on one level or another. A nice piece, but I think I preferred '(Yang) The Squint' better. Here too lots of silence and soft played interaction, but it works better. Silence is true silence here and whoever edited it (assuming Chabala actually) did a great job in finding the 'right' interaction between the various sounds, make them complement eachother. Also quite an exhausting piece of music, so perhaps this one would have been fine enough for me.
Also new for me is Daniel Jones, who plays turntable and electronics here. No doubt also the work of improvisation but things work out quite differently here. No carefully constructed interplay between silence and music here, but the turntable produces drone like sounds and crackles and the guitar sets forward to do the same thing. Or maybe vice versa - I can't tell. The outcome is something different at least than the other disc, with many menacing sounds, earth/ground hum, and static crackles. Perhaps less demanding than the other one, or at least it works on a different level. For all its dark sound, this is, I guess, the more musical release. You can play this for fun, and not pay attention all the time. Here the fifty-four minutes are well-spend and the four pieces are placed in exactly the right order. Excellent release. (FdW)


Following last week's release on Striate Cortex (spelled wrong last week actually) by Sindre Bjerga, there is now the second release, and another one to involve Sindre Bjerga. Here he teams up with Jan-M Iversen, and as such they have released a whole bunch of music in a relatively short period, but then things got quiet again, even though they toured a lot. They are electronic improvisers pur sang: armed with a load of electronics, pedals, tape recorders, sampler, contact microphones and a home-made one string instrument, they create dense tapestries of sound. The initial work didn't do much for me, but as time progressed things have been become actually quite good. This particular recording from earlier this year at Stavanger's Public Library is a such a fine work. A bit noise based, but never loud/heavy/distorted or such like, but working towards the louder end of drone music, with a rough edge to it. A minimalist sound in which the music slowly develops, feeding through that endless line of sound effects, turning knobs slightly and slowly thus altering the output in a very consistent manner. A particular great concert. Soon to be seen in my area, so I will surely head out. (FdW) Address: <>


The man behind the Parvo Art label is the man responsible for the music here, and he has taken his inspiration from the book of Psalms (that is, for those who do not know, a part of the bible). He doesn't use the words but, by contrast, goes into a very abstract way of doing so. I am not sure if Duncan O Cellaigh is a religious man himself, but he treats the subject with great care (as inspired by Makoto Fujimura). I can imagine he has taken sounds from religious areas, like church organs or church bells and processed these into some very luscious pieces of music. Very floating ambience, with a strong sense of tranquility about them. Like the psalms who are supposed to bring comfort to those who read them, this does exactly the same thing. Microsound? Ambient glitch? Surely all these things apply to this music, but its that highly unusual context of biblical references that makes this into quite an unique release. Refined, heavenly music. (FdW) Address:

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