Herd - Tangents 1- 19 - (FSOR 008)

Label: Future Sound of Rhytym
Artist: Herd
Release: Tangents 1-19
URL: http://www.archive.org/details/herd_-_tangents_1_-_19
Rating: 6.2/10

Herd from Corby, Northamptonshire provides the 8th release on Future Sound of Rhythm called Tangents 1-19, a sprawling 19 tracker of ambiance released in February. For people unfamiliar with FSOR, their previous releases have been pretty varied in sound and also in quality, falling under the wide bracket of electronic music.

The first things that strike you about 'Tangents' is the subtle use of orchestral sounds and atmospherics. The tracks, in time honoured ambient tradition, are drenched in reverb and echo with non committal melodies more hinted at than played explicitly. The tracks are very emotive and run into each other which is the most agreeable way to consume this record.

There is a coherency to the tracks and they fit together adequately but perhaps stretch the attentions span at times, though, that is more to do with the genre than an particular fault of Herd. He makes good use of stereo, using small tricks to make his swirly synths stand out. As mentioned, the tracks and essentially a lot of the ideas run into each other and are repeated sometimes from track to track, which most probably explains the title. There are times when it steps out from the established sound; track 6's plucked melody and refined string are a particular highlight, likewise the shaker in tracks 7 provides some movement and directness to proceedings.

As an overall piece it doesn't lack direction and as it really swells and grows as time goes on, the melodies get more sophisticated though they are borne from a similar palette. Track 8 has touches of Amber era Autechre, with a light echoey piano sitting perfectly with sounds that wouldn't be out of place on the Blade Runner sound track. Indeed, by track 10, there is a sci-fi soundtrack feel which is enhanced by some excellent use of delay. Much is to be admired in the artists ability to place sounds creatively in the mix and his wise choice of elements that complement each other perfectly. One major criticism would be the percussive elements; though low in the mix and not integral to the tracks they are too static and fairly unambitious.

The last third or so of the album does have a few interesting tricks left in it; track 11 stand outs with its pitch descending melody, shuffling resonance and bits and pieces of melody falling around it. tracks 16s arped melody also piques the interest before the album winds down with a satisfying bell like melody.

There are a lot of positive things to say about this album but in a crowded reverby sea of electronic ambient music its difficult to strike a claim to a unique voice. There are times when the tracks do capture the imagination but equally there are times when it all just seems to grey and your mind and hands wander towards the skip button. Brian Eno once talked of his fear that that ambient music would become to simple to make with technological advancements and with programs like metaphysical, released a few years back by native instruments being able to produce pretty breathtaking ambient results with a few minor tweaks or the randomize button, the genre has been cheapened somewhat. Its hard to think of too many ambient records in recent years that could be truly considered absolutly vital, but if you like ambient music this record at times steps above its peers and sounds very beautiful.

Octobers Label of the Month: 31337 records

These are exciting times for Berlin based label, 31337. Formed only in 2007 they have been steadily building up an excellent profile with solid releases and apperances from some from big names too like Someone Else and Remute. Their 2008-09 schedule promises to be a busy one with Dubkult amongst others lined up.They launched their dubby, minimal sound with the excellent compilation We are 31337! in may 2007 and the label is run by Stefan Klaas, Sebastian Guth and Philip Steger. We catch up with Stefan to ask him some questions....


First things first, is the name to be pronounced as numbers or as leet/elite?

Its meant as "leet" or "elite", but many people use the numbers as they probably don't know the meaning.

You seem to have taken a sensible route to starting a label by starting digital and then moving towards vinyl. was that always your intention or is it more that there was a demand for the vinyl releases?

I guess both. Of course we always thought of vinyl, but without any reputation its hard to compete in the music business. since many people get more involved in social networking we thought its best to start off digital. This was cost effective as we didn't have a big budget to start with and it was good enough to get the name out. Also the netlabel scene is a very interesting place to meet new talented artists, label contacts and the like. There is a very strong community behind it and we will always keep supporting it, even when we go for vinyl, there will still be free mp3 releases.

Putting out vinyl is a risky business these days? Are you worried?

Not really worried, but very excited. We just think positive and go for it. Lets see what happens.

Getting artists like Remute and Someone Else to release on the label must have been amazing. Did you know them previously or was it just through other releases that you got in touch with them?

We knew all artists before the actual releases. Especially Denis (Remute) was really open minded to our project even tough we were a new label basically without any reputation. One year later we finally made it! We had several changes in the remixes so we kept delaying it. Sean (Someone Else) was also very kind and provided a great track for our very first release. We also planned the first vinyl with him as we love his music.

Who is the one artist that you would love to put out a record for?

I guess we all agree that would be Miskate or Cabanne.

Do you have any advice for someone starting out a netlabel?

Yes, avoid collecting agencies (such as GEMA in Germany) by all means and be sure to make contracts for every release!

Things seem to be going really well, do you have plans for the future or are you taking things one day at a time?

Indeed we get so much great support from all over the world, its really amazing and cool to see that people appreciate our efforts since we built this label not because of capitalism, but to have a platform for music that we personally love. Great to see that people enjoy our music!

What other labels or net labels do you like at the moment?

There are just too many good labels but i guess our favorites are still (un)Foundsound, Hello?Repeat, Perlon, Lessismore, Echocord, Scape, Multivitamins, Op.Disc or Minibar to name a few and as for netlabels we always like the Archipel stuff from our friend Pheek or Textone from Jay Haze.

What about the future of techno and dance music?

That's not up to us really and we couldn't care less. Some people already say minimal is dead, but we don't go for the current hypes, we keep releasing what we like.

...and long may it continue. You can download or listen to lots of their tracks from their website below and also keep an eye out for their future releases as these promise to be very exciting times for this interesting label.

http://www.31337records.com/
http://www.31337records.com/releases.html
http://www.myspace.com/31337records

Label: Biodata
Artist: Various
Release: VA Causa Peruana
URL: http://www.biodata.microbiorecords.net/blog/?cat=2
Rating: 7.3/10

Meridas (Venezuela) Biodata have been established since 2001 knocking out release after release of weird, experimental electronic music. This Sampler gives a good idea of what they are about. The range of music is truly varied, oscillating from the wild, heavily-processed-to-the-point-of-being-borderline-unlistenable 'Codigo ASCOO' by Christina Galarreta to the the slight, clicky atmospherics of Gabriel Castillo, it starts out as it means to go on. Its hard to escape the futility of writing about often other worldly music like this, there's no immediate reference points to fall back on, while the regular framework for criticism doesn't really apply too easily to songs are motivated by different goals. Also, for me, samplers are definitely a case of function over form, and in some ways this is suitable for the biodata ethos, as the basic thread that links these tracks is, quite simply, uniqueness and experimentation as against genre or sound. As mentioned, the scope and range of tracks on this LP are huge. Obviously some of the experiments cover ground that has been charted before over years, and others you feel are perhaps better understood by the processes in which they were made rather than by their end result.

The acts represented on this release could be broken up into two different camps based on approach and output. The noisy, digital overdrive of acts like Godinez, Jab Lemur and Rolando Apolo are highly impressive as sound design pieces, especially Godinez's 'el rincon de box' which mangles a live bass and presents it in an unexpected way. Ramping the volume up and down, its nightmarish and suffocating with beats that are more suggested than heard, its a complete mess really, but absolutely compelling. Lemur and Rolando tap into the same vein with their tracks, which might be considered more abstruse than the others, their sound design proving really affecting and discomforting. Similar in theme, and a contender for the albums stand out is 'Metastatis Tubulares'. Its one of the albums more paranoid work outs; a violin as the centrepiece, spitting out a creepy discordant melody, then when an second violin accompanies it, its so disorientating but listenable that when it closes with an odd pan pipe and man talk-rapping it seems entirely reasonable.

Another camp could be the softer more ambient and effectively less intense end. Omar Lavalle and Naiadra Muriantica provide ambient soundscapes which drift along competently, if unspecularly, before Muriantica's '03 (Arcadia Archaea)' takes a left turn with a truly sinister ending. Wilder Gonazalez provides the samplers closer with a nice, yet somewhat unmemorable wrap up. 'Dectrogeno' by Terocal's soft melody and prominent toms glisten in clean production which allows lots of space and reflection before an outstanding clippy end.

However, what really cement this samplers memorable singularity are a collection of tracks that really stand out on their own due to a mix of different elements. There is a salsa feeling to Pulso Adolescente's upbeat and playful rhythms while Lujan crosses a phone call with a salsa groove to created a strange atmospheric piece that works in a weird way that it really shouldn't. Similar to these in scope are Kollantes and Ticas respective contributions 'Liberenatahualpa' and 'Pajaros De Miel Con Un Cielo Adentro'. 'Liberenatahualpa' is one of the more coherent moments on the album, with first rate and precise beats accompanying a soft organic melody, it is soft and beautiful with crisp production. 'Pajaros De Miel Con Un Cielo Adentro' might be the most accessible of the samplers tracks but it too shimmers with uniqueness. Tica supplies a touching melodic line that is so dreamlike and haunting before a soft whispered voice pushes it to a late night emotional breaking point. It is nothing but delicate and perfect.

An excellent release by an interesting label with one eye on the future and the other on pushing the envelope.

Label: Teorema
Artist: Dejersey
Release: Mas Que Humo EP (tr012)
URL: http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=201053590&blogID=415658577
Rating: 5.6/10


Interesting Ponteverda based techno label Teorema bring us their 12th release, a high energy four tracker from Dejersey. Its his first full release for the label after providing an good twist on B.E.R.E.s "Yo Tenia Una Idea" for the labels 'VA-Remixes Compilation pt.1' (tr010).

The opener LEloois initially striking for two reasons. Firstly the main hook is a little too similar in feel to Heartthrob's major hit from a few summers ago Baby Kate, and secondly is how compressed the record is. Its pretty crushed, and could do with the lost dynamics back. Its similarity to the afformentioned tracks synthline, for this listener, detracted from the song considerably, and i couldn't really shake it off. Following that, Sigue Igual is more successful and a straight forward melody is surrounded by shakers and lots of atmosphere. The track is really club focused but it doesn't vary wildly over its 6 minutes and maybe doesn't maintain interest for long enough.

But its the 3rd track, Brilla, that saves this EP. A very short looped bell like melody drives the song supremely, snappy hats and snips of vocal samples push it on, before a really emotional synth takes over a break in the drums. Its euphoric, but not in a cheap sentimental way and really perfect for a late night set. The fourth track like the third, moves a little away from the more M_nus influenced sound of the first half. Its quite similar in composition to the other tracks, but has perhaps more going on, even the hats seem to play a part in the melodic content of the song.Its initially more laid back than the previous tracks but features a great moment around the 3 minute mark where it all just sort of comes together, and leads into a beautiful clear moment for the last third of the track that's got lots and lots of groove.

Overall all, the compression issue does effect the impact of this EP a lot. The quest for ever louder and louder tracks is a well documented problem and sometimes it can be a real curse as you feel that with productions like this, with short hypnotic riffs essentially the key to much of the tracks, that over emphasising loudness at the cost of dynamics is the wrong tack and stops you getting really involved in them. It also strays a little too near the spate of M_nus alike techno that seems to be everywhere over the last few years and has become a little tired to say the least.

However it would be small minded not to see the distinctive elements and positive points of this 4 tracker, namely, that the tracks here are of good quality, the programming is precise and often quite intricate and interesting rhythmically in the last two tracks especially, and most importantly, it should be well received on any dance floor.

Koloni 001 & Koloni 002 - Vivianne (Roxy) and Jacob Adler (Adlers Unter Dem Plattenteller)

Label: Koloni
Artist: Vivianne and Jacob Adler
Release: Roxy (Vivianne) and Unter Dem Plattenteller (Jacob Adler)
Url: http://www.kolonirecords.com/
Rating: 6/10
Release Date: September '08

Stockholm based Koloni records kicks off what promises to be a busy winter schedule with two debut releases from producers Vivianne and Jacob Adler. Vivianne (aka Roland Nylin) supplies KOL 001, Roxy. First things first, Beatport pulls its old trick of incorrectly classifying the tracks by lumping it in the deep house section. From the start of the A-sides thin filtered organish pad, and shuffley house hats and soft melodic stabs, through to the introduction of a bass line so infectiously disco that you don't really have a choice but to be pulled along with the track, its quite clearly not deep house. Which isn't necessarily a bad thing of course. And while, for all intents and purposes it's a disco track its definitely not without heart. There is something really melancholy but optimistic about it that makes me think it would make a very useful track to have in any record bag. The second track, Stevie Nicks, an acknowledgment of the influence of Fleetwood Mac, isn't an all together comfortable b-side. Once again the focus is much less on rhythm and more on emotive synth lines and has a popier feel to it. The main melody is quite insistant but its a little anti-climactic compared to the a-side. By the time an arpeggiated lead comes in over some light plucks the track doesn't seem to be as focused. A rising string melody towards the end is pleasant, but its hard to escape the feeling that the track seems a little too static.

KOL002, Jacob Adler's Unter Dem Plattenteller, is a markedly different prospect but does makes sense as a follow up release. The a-side, once again, is very synth driven, theres lots of resonanted atmospheric noise that flies around a bleepy arp and fitlered organ chords until a 303ish bass lifts the track into life. After that there is a straight forward but kind of creppy delayed melody thats nicely complimented by some claves. The track competently varies those elements without too much rhythmic surprises. The bside which gives the EP its name is similar but much more effective. Once again, melody driven, it however features a really, really beautiful and unique chord break down which could only be the work of a man in love with the warmth of analogue synths. The main melody, a kind of pitch-bent descending hook, makes much more sense for the breakdown and the track comes back in with the dance floor focus that perhaps the A was missing. The percussion is quite clean and good but still takes second place to the melodic elements of the track. This culminates in a big drop near the end where the main melody drives the track, making it suitable for a peak time set.

All in all, these are a very interesting offering from a new label from two debut acts who both underline their potential with very clear, precise and uncluttered production. More releases from both are to follow this winter and in the case of Vivianne an LP. This is an interesting prospect because i can't help but feel that without the pressure of a club focused output the b-side would work perfectly well on an album. It will also be interesting to see how the label evolves its sound with its releases and whether its still fixated on more synth driven material.

Exegonal - Epicoteque

Label: Swishcotheque
Artist: Exegonal
Release: Epicoteque
URL: http://www.swishco.co.uk/release.php?id=45
Rating: 6/10

Exegonal's release on Swishcotheque, Epicotque, immediately seems to be taking a play out of Aaron Funk's diverse playbook. It soon becomes clear, however, that the play is executed with skill and taste. While it is derivative, it's very tight, and its technical and thematic merits speak for themselves.

The theme of Epicoteque lives somewhere between Last Step and Winter in the Belly of a Snake. It is horror and sci-fi, alien and perverted. It's the soundtrack to the sort of uncanny, sourceless fright that only nightmares bring. It's much less apt to the distortion and technical freakouts of Venetian Snares, and instead demonstrates a strong sense of care and compositional discipline. You never see the monster, but you know that it's around every corner, and that it's unimaginably horrible.

The first track, Gam1, is a short piece that recalls wind chimes, though detuned and more carefully rung, as if by a clever and mal-intentioned wind. It serves as a great foreshadowing of the next four tracks.

In Pighead Demons, the second track, Exegonal makes use of an image-to-sound tool that treats images as spectrums to encode them into sound. If you're familiar with Aphex Twin's Windowlicker, you've heard the effect, and may have heard about the image of a face that's encoded into the track. You may have sought it out and seen it yourself. It's a trick that was fresh then, but it hasn't aged well.

Here, in Pighead Demons, it's similarly (and distractingly) used to encode a "hidden" image into the track. In that moment where the image is encoded, while the watery, morphing chirps are playing out, untreated, with no accompanying instruments, you're left thinking, "do I fire up the spectrum analyzer to see what the image is? ...Nah, can't be bothered..." and then the track rolls on. It breaks the immersion in an otherwise excellent track. The tool is used extremely well, however, as a melodic element throughout the track, when used to encode spectrum images that are meant to end up as notes. The treated chords sound like an alien organ, and mix well with the skittery percussion, acidy synth lines, and atmospheric melodies for a surreal, spooky action ride.

Discount is the highlight of the release. After an atmospheric section with synth piano and comparatively mellow analog beats comes an acid explosion that maintains the drama while quickening the pace. Near the end of an interlude of saw synths and heavy delay, ominous strings fade back in and another acidy payoff brings the track to a close.

FunkyMicroMan starts weakly, with beats and acid lines that aren't engaging enough to carry the track. The strings from Discount return, but the chords this time are less inspired and don't help out the other struggling instruments. The final third of the track picks up, though, with funky panning beats and powerful, rocking synth riffs.

NION - E closes out the EP, and is also on the weak side, especially its second half. The bass line there plods along in a happy-go-lucky way that counters the EP's tone, the beat falls in line and plods as well, and, while the main melody sometimes agrees with the bass, it seems to have ideas of its own that don't mix well. This main melody is the lone voice in the end, but it doesn't have much to say.

Overall, Epicoteque is a strong-willed and engaging EP, though there are lapses and weak points. It is derivative, but in the end it holds its own, and there are moments of brilliance that make the release feel unique.

KR

Music Review

This blog is mainly going to be focused on electronic music reviews for net labels. There seems to be a serious lack of decent reviews for then, especially when compared with the amount of music being released by net labels every day. I often find the sheer amount of labels overwhelming and can't help but think that I'm missing out on lots of amazing music because i don't have enough time to listen to everything. The plan is to host as many reviews as are possible to get through.

If a label wants to submit music for a review get in touch via mureview@googlemail.com with a subject line of "Review" and a link to the tracks.

Likewise, if anyone would like to contribute reviews get in touch via mureview@googlemail.com with a subject line of "Writing"