SELARODA
“Viaje a Través de Sonidos Transportative” C35
(Inner Islands)



After releases through Digitalis Ltd, Sanity Muffin, Golden Cloud, and Petit Mal, Michael Henning has now found a beautiful new home on one of my favorite Bay Area labels, Inner Islands… and I wonder what the hell took him so long. His fearless explorations in blending vibrant themes of ambient, minimalist, new age, Eastern/African, and the occasional booty-shakingnesses…it just fits in with the II catalogue so perfectly. I’m always glad to find a new sonic adventure, both intimate and, yes, I do dare say it, ‘cosmic’, and through these progressive mediations, all carefully arranged and magnetized onto one li’l cassette, I can paint and nap and nap and paint all goddamn day long, intermittently crawling out of my skull for a breath of fresh air just in time to catch the sound of a shooting star, aurora borealis, echoes of an ancient santur-ian ghost, or an unidentified flying drum circle.

and/or


- - Jacob An Kittenplan

VARIOUS ARTISTS “Dialog Tapes” C44
(Dauw [CD companion on Eilean Recs.])



Belgium and France are two of my favorite places on Earth, so it’s no surprise that Dialog Tapes, an intra-label compilation featuring “duets” by artists from both the Dauw and Eilean Records stables, is a release whose excellence befits the home turf of its labels. See, Dauw is based in Ghent, Belgium, and Eilean is based somewhere in France, and each has really great taste in ambient/electroacoustic artists, making for superb pairings on these tracks. I can only imagine the label heads are equally good at pairing food and wine (or beer), because, you know, French and Belgian food and drink are, like, some of the best on the planet. Trust me.

Speaking of delicacy – or is that delicateness? I never know if I’m appropriately making up a word or just using it wrong – if there’s an adjective to describe the composition and execution of this release, it’s absolutely delicate. There’s such a light touch among the musicians that although each piece is a duet (across Internet space, anyway), everything sounds singular, like the artists were in each other’s heads while they were working separately. And each piece is absolutely gorgeous – see the opening lullaby “How Does It Feel” by Stijn Hüwels and Danny Clay, or the magnificent use of voice and brushed drums on “Alpine Carpet” by Ruhe and Twincities. Even the darker takes, such as “Over Land (Left Behind)” by David Andree and Miguel Isaza, or the heartbreaking renditions, like the string-heavy “Bloom and Fold,” which closes side B, by The Humble Bee and Aaron Martin, are peaceful and appropriate, never veering from intensity or focus.

I mention mainly the Dauw version of this release here, because the Eilean half was issued on compact disc, a format widely believed throughout the scientific community to be the natural enemy of the cassette. Therefore, discussing it here would have widely negative implications for everyone involved. However, under threat of immediate reprisal and lengthy incarceration, I recommend to you, my dear, dear readers and close spiritual friends, that you pick up the Eilean half as well, as it is just as good. *Uniformed special forces break down basement door, place writer in handcuffs, drag him up the stairs and into a waiting unmarked white van* Ow, let go of me you bastards! You'll never silence me! Freedom and equality for all formats! Don't weep for me readers, I'm still in your hearts! Ow, cut it out ... Is that a box of donuts on the dash? Can I have one?



--Ryan Masteller


PAUL R. MARCANO/ANDRE MARTIN “Valley Flutes/As It IS” C90 (Constellation Tatsu)



This split release between lifelong friends could not be more night & day in just about every possible way. Where Paul R. Marcano creates an infinite world of ever expanding enlightenment, Andre Martin counters with claustrophobic, collapsing depression. Where Marcano explores riffs on (and only on) a chorus of varying delayed and/or droning recorders, Martin loops heavily processed minimalist guitar/synth swells that mutate only under careful scrutiny. Marcano’s side sounds like ancient wisdom where Martin’s evokes only invading emotional disillusionment.

This hour and a half long journey is not for the faint of heart.

and/or


- - Jacob An Kittenplan

NAVA LUVU “Transport” (Apothecary Compositions)




Nature influenced IDM. The duo of Ashley Daw and Sami Blanco are Nava Luvu and they want to offer something more than simple danceable songs. The pulsing backbeat and lots of looping are the production techniques of choice throughout the 26 song effort. There are moments where they captured my attention, such as the title track “Transport” and “Sight Can’t even”. Unfortunately, the time in-between the best tracks felt like filler. As a listener I found myself zoning out then being dragged back in as opposed to actively feeling engaged the whole time. Cut the thing in half and I probably would have liked it a lot more.

The tape itself has some awesome packaging. You get a cool booklet, fancy twine tied box, and a bright gold cassette that complements the pinecone j-card art.



-- Roy Blumenfeld


ANDREW WEATHERS “I Am Happy When I Am Moving” C40 (Constellation Tatsu)



Andrew Weathers’s explorative output has been a consistent blend of beauty and serenity over the past six years, from overtone worshipping organic minimalism to lo-fi, humble folk-ishnesses, releasing material under his own name, as well as a plethora of other projects.

This most recent offering finds him at his most meditative and wise -as is par for the course for how CT releases go- and AW here crafts mantras of American primitive bent, both electric and steel string acoustic (a la Steffan Basho-Junghans’s ‘Late Summer Morning’ plodding meanderings) with accompaniments of Newer Age-y shifting swells of droning synth, organ, electronic manipulations and field recordings, as well as the occasional banjo embellishment. The focal points trade off seamlessly, like relay runners in slow motion, under water.

Honestly, I’ve listened to this album about ten times now and have started to assign subjective moods, mostly saccharine/montage-y, to the half dozen or so movements, especially those that re-visit the main theme/riff of the album’s opener, and I could easily see this being a b-side soundtrack to the fucking Wonder Years. Maybe Fred Savage is Andrew Weathers’s spirit animal?

and/or


- - Jacob An Kittenplan