Mind inflamed, Soul adrift are a record label out of Austria who have released a free compilation which is actually rather good all the way through. There are 16 tracks on the release, and genres covered include electronic music, drone, noise and psychedelic rock. There doesn’t seem to be any focus to the label, but at least for this recording, that’s not a problem at all. All the tracks manage to work together and make for good listening.
A Beginner’s Guide To Hard Hat Color Coding is a new project by BlindººCoyote, longstanding monicker of Drem Bruinsma, a Dutch-born composer now based in Alicante, Spain, whose work under this moniker reminds me of peak-period Cluster finding a bit of time to carouse with an early-wave Industrial band (think Cabaret Voltaire’s more daring experimental work than the dark funk they would produce during their heyday). It would make sense, as BlindººCoyote has been alive as a project since the early 1990s, and this particular sound to me is timeless. The project has been active (with some periods of non-activity) since its first 1993 release, Phantom Pain/Genkaku no Itami, a project which stemmed from a collaboration with legendary jazz fusion trumpeter Toshinori Kondo.
There’s something very kosmisch about this particular release, though it has flourishes of a cold, metallic bent. This floats surprisingly easily and envelops this listener into a dreamy, lulling feeling. There’s also a reminiscence of sounds made by such acts as BlindººCoyote’s one-time collaborators Tuxedomoon (he wrote scores for video, dance, theatre and collaborated with the individual members of Tuxedomoon, amongst others).
Not for the faint of heart, but rewarding in its own way. It was released by Cian Orbe, out of Santiago, Chile.
His latest release is a collection of loop-oriented pieces played on a prepared guitar. Though Bandcamp is horrible for this sort of work, I recommend buying the album, putting the tracks into “shuffle” mode, and letting the sounds wash over you. You may hear the same pieces over and over again, but the context will feel different.
FLOOPS ends up becoming several hours’ worth of intensive listening, reminding me somewhat of Brian Eno’s generative music or Adrian Belew’s recent flux experiments.
Though he classifies this under Power Electronics, there’s something more elegant to his compositions than what I normally find in that genre. This is Power Electronics for the thinking man.