[Music] Glåsbird – Svalbarð

This album by Glåsbird is so utterly enthralling to my ears that I feel like the angels are talking to me at the moment.  There is a sense of a cool peace that this album is making me feel at the moment in a grimy, grotesque Beijing that I have to thank the creators of this sublime work for their efforts to keep me sane in this very, very odd place.

From the Whitelabrecs Bandcamp site:

In February 2019 we released the debut album by an anonymous artist named Glåsbird, in the form of Grønland, a sonic expedition of Greenland. The album received much critical acclaim despite being from an anonymous artist and was even featured on Bandcamp Daily under their ‘best Ambient’ feature. CD copies of this record have long since sold out, but the Glåsbird continues its flight to a new destination: Svalbard.

Svalbard lies 78 degrees north, is inside the Arctic Circle and had a population of around 2600 people and an estimated 3000 polar bears! Its calendar year divides between the midnight sun and the polar nights. The former is a period of constant daylight and the latter is the opposite. However, the dark season is broken from time to time by spectacular Northern Lights.

In Svalbarð, Glåsbird became immersed once more in this next excursion, through means of Google Earth, 360° photos, blogger accounts of the isles, maps and also, videos by Efterklang who were an obvious reference point with the band having visited.
This time, we are treated to a greater number of tracks, as ten movements weave Modern Classical influenced Ambient soundscapes. The pristine, polished reverb of Grønland is replaced with a slightly muddier, more lo-fi approach to the sound as the artist strived to present a tape-eroded aesthetic to their work. The recordings deal with dramatic landscapes, glaciers, an abandoned coal community, a seed vault, the Island’s capital city Longyearbyen and of course, polar bears. Each piece feels icy cold, yet the warmth and hiss provided by the decaying tape effects provide a comfort blanket for the listener as perhaps you take in these scenes from a lonely cabin, at one with isolation and natural beauty.

The packaging for the album includes photography from Svalbard itself, courtesy of Aldona Pivoriene who is a professional photographer based in Norway. We are also set to release the next Glåsbird album next year. Where will the destination be? For now, we hope you enjoy immersing yourself in this new set of works exploring Svalbard.

Cold-climate ambient.

[Music] Art Zoyd – Génération Sans Futur

I must have been about 17 years old when a disc called Symphonie pour le jour où brûleront les citésMusique pour l’Odyssée and Archives 1, performed by a band I had never heard of called Art Zoyd, kept staring me in the face, while I heard voices in my wallet saying, “Take it.”  I had just recently discovered Univers Zero, a contemporary band, and was told by the ever-knowledgeable staff at Rhino Records in Claremont, California, that it was a winner.  Indeed, it was, and it was unlike anything I had ever heard up until that point.  Chamber-rock wasn’t in my vocabulary at the time, but that would be the term which fit the band best.  It’s good to see this album in its proper form, but I really do hope that Sub Rosa, who took the time to do such a wonderful job producing this disc, re-releases Art Zoyd’s whole back catalog, including bonus tracks.  Each disc has been worth it.

[Music] Various Artists – MUSIC FROM THE SONOTON LIBRARY 1969 – 1981: RARE PSYCH, MOOGS & BRASS

As lounge music and easy listening were massive during the 1990’s, library music seems to be the rage for today.  So many labels are releasing wonderful compilations that it’s nearly impossible to keep up with what’s coming out, and what belongs on the top shelf.  Buried Treasure Records seems to have come out with the year’s best library comp, which also happens to be available on vinyl and CD.  Check out these tracks by no-name artists who deserved a better fate than to be forgotten for so long.  All the material is brilliant!

[Music] NERATERRÆ – The Substance of Perception

Alessio Antoni is a friend of the blog, having made a previous appearance with his disc The NHART Demo​[​n​]​s in March of 2018.  His latest release surpasses even that dark masterpiece of a debut, partly because he continues to explore the depths of sound, and partly because he was a few guests adding a few jewels to his crown.  Read on those guests who are participating in this recording.  They are the best of modern dark ambient music.  Alessio deserves to be held in the same esteem.  We look forward to see what he has next for us.

From his Bandcamp site:

NERATERRÆ’s debut album “The Substance of Perception” (out on Cyclic Law records) is a daring collaborative work featuring some of the finest artists from the Dark Ambient, Drone, Cinematic and Ritual Music scene: Northaunt, Alexey Tegin from Phurpa, Treha Sektori, New Risen Throne, Flowers For Bodysnatchers, Taphephobia, Ugasanie, Xerxes The Dark and Infinexhuma.

The sound palette shifts between both stark atmospheres, melancholic ambiance and dense claustrophobic drones. Alternating between obscurity and light and oscillating between the ineffable detachment from the tangible and the relentless transmogrification of the self.

[Music] Kiriakos Sfetsas – Greek Fusion Orchestra – Χωρίς Σύνορα [Vinyl Rip]

Kiriakos Sfetsas and the Greek Fusion Orchestra provide a cool combination of jazz fusion and a light touch of ethnic Greek music.  A VERY light touch, but it works beautifully on this album.

Composed By – Kiriakos Sfetsas
Acoustic Bass – Giorgos Theodoridis
Alto Saxophone – Stelios Vichos
Baritone Saxophone – Giorgos Halkiadakis
Clarinet – Manthos Halkias
Drums – Λευτέρης Τζήμας
Guitar, Lute – Nikos Tatsis
Liner Notes – Nikos Kizilos
Piano – Yannis Terezakis
Tenor Saxophone – Tassos Poulimenos*
Trumpet – Yannis Theodoris*

[Music] Rob Mazurek Octet – Skull Sessions

Rob Mazurek is a cornetist, composer and sound explorer out of Chicago who has collaborated with some of the best groups and instrumentalists in the world of experimental music.  He has collaborated with Jim O’Rourke, Godspeed You! Black Emperor and Stereolab, along with fellow Chicagoans Tortoise.

The record sounds like a paean to Miles Davis-era fusion where he collaborated with Hermeto Pascoal, but adding a more free, weird, avant-progressive angle to his work.  Beautiful noise.

[Music] Petyaev-Petyaev – The Double

Fancy Music releases another stellar album.  The brothers Petyaev, Peter (saxophone) and Pavel (guitar) front a band that would be favorably comparable to legendary 1980s New York jazz-funk bands like Material or Mark Ribot’s many collaborative efforts, but there’s also a very dark, angry, post-punk vibe to this album, thanks to the fine bass playing of Ivan Bashilov.  Russian improv is my kind of improv these days, thanks to records like this.

From the Fancy Music Bandcamp site:

The brothers Peter and Pavel Petyaev (saxophone and guitar) and Ivan Bashilov (bass guitar) recorded this album with two sets of musicians.

Karina Horhordina (trumpet) and Viktor Tikhonov (drums) tale part in the first four tracks. Here, in free noise improvisations, a lyrical musical narration is often born out of chaos and rage, which is then again replaced by expressionistic blasts of sound. Pavel Petyaev gravitates towards the lyrical pole of this music. Echoes of both Russian folklore and gloomy blues in the spirit of Tom Waits and Mark Ribot can be heard in the guitar chords. Saxophonist and painter Pyotr Petyaev is responsible for shrill and screaming timbres of the ensemble. The way Pyotr plays resembles expressive colors of his paintings.

Drummer Sergey Balashov and pianist Fedor Amirov appear in the second part of the album. Tense roaring bursts and abstract textures in Amirov’s masterly performance are resolved into hip-hop rhythms, funk and melodic musical passages. Poetic and emotional harmonies now and then appear in compositions that formally resemble songs. The vocalist’s place, however, is taken by the roaring saxophone of Peter Petyaev, and a constantly pulsating rhythm section breaks the musical fabric in expressive moments and dances in an irrational whirl.

credits

released July 12, 2019

Peter Petyaev saxophone
Pavel Petyaev guitar
Ivan Bashilov bass
Carina Khorkhordina trumpet, noises [1-4]
Victor Tihonov drums, noise machine [1-4]
Feodor Amirov piano [5-9]
Sergei Balashov drums [5-9]
__

Recorded by: [1-4] Nickolay Samarin, Orange Studios, Moscow, 12th September 2018, [5-9] Igor Pavlov, Pravda Production Studios, Moscow, 19th October 2018
Mixed, mastered by: Stanislav Baranov, DTH Studios, Moscow, November 2018 – January 2019