Today, we have some fine contemporary classical music coming out of Russia. Fancy Music usually deliver consistently good albums, and this one is no exception. The Opensoundorchestra interpret the works of newer composers such as Nastasya Khrushcheva, Elmir Nizamov, Anatoly Palaev, Vladimir Kobekin, Vladimir Martynov and zhokhowski
We find music in the strangest of places. This release from Jesse Paul Miller is proof of it. From his Bandcamp site:
“These tracks consist of a series of sequential “sound collages”, based on recordings I gathered in Southeast Asia, between 2008 and 2017.
There is NO Multi-Tracking or “Over-Dubbing” on these tracks.
Original artifacts of these recordings are self apparent and un-alterated.
Five of these tracks were initially made in 2014 as potentials for release on my Sublime Frequencies album entitled “A Distant Invitation”
(Tracks 1, 2, 5, 16, and 21). These didn’t make the cut and weren’t included, but now they can be listened to in this mix.
They were overlayed only at the beginning and end of each original recording. These single trackings were compiled sequentially.
Also included are a group of similar, singular recordings, of which, made up these kind of “sound collages”, edited to compliment the original series, and included in late February 2024.
This group of recordings isn’t intended have a full-album flow, it is more of a compilation. Hopefully each track can be enjoyed for its own qualities, perhaps a fun or interesting addition to any mix you might be listening to.
All together, you can hear a feeling for cosmic radio anomalies, human voices, interactions, and ceremonies, from locations in these magical parts of the world.”
From Chitra Records’ Bandcamp site:
“Shibui is a simple, unobtrusive beauty that expresses original imperfection and intelligent restraint. The track titles are based on various polysemantic aspects of Japanese aesthetics and culture.”
Simple, sparse electronic music. Not quite ambient, but it’s easy to get lost in. This is a fine release for headphone listening.
From the good souls over at Projekt Records:
“Mira were a dream pop/shoegaze band from Tallahassee, Florida, formed in 1996 featuring vocalist Regina Sosinski, guitarist Tom Parker, bassist Max Fresen and drummer Alan Donaldson, with second guitarist Mark Davidson. After releasing several EPs on their own Tesseract label, the band signed to Projekt Records, and their song “Cayman” appeared on Projekt’s cat-themed 1999 compilation A CAT-SHAPED HOLE IN MY HEART. Mira released their eponymous debut studio album on April 4, 2000.”
Ilia Belorukov is a multi-instrumentalist who hails from Russia, but since the Russia-Ukraine conflict, he has been a resident of Novi Sad Serbia and will probably be for awhile. He is making wonderful use of his time by collaborating with local talent. Marina Džukljev is a pianst and first-rate improvisor, so between the two, they have come up with seven works which flow quietly but giving off an air of foreboding. There are elements of early piano works of John Cage and free jazz, giving this album a fine sheen.
From the golden ears of Ian Nagoski and his wonderful Canary Records label, we have a compilation of 1960’s garage rock from Honduras. From the release’s Bandcamp site:
“This album of Honduran bands who recorded ca. 1966-69 under the influence of American and British rock and soul was released as a nostalgia compilation in New York City for the immigrant diaspora. Issued as “Vol. 1″ we see no evidence that there was ever a Vol. 2 although most if not all of the performers apparently released other 45rpm discs.”
The New Human is, as far as I am concerned, the new standard bearer for fresh music in the IDM genre. If you like groups like Boards of Canada, and of course, Aphex Twin, this is going to pique your interest. From the Bricolage Records Bandcamp site:
“For our next release, we welcome the enigmatic producer, ‘The New Human’, to the label with his stunning album, “Proximity Mantra”.
“The New Human” isn’t afraid to wear his influences on his sleeve. Proudly incorporating the late 90’s/early 2000’s IDM methodology into his own techniques to create a curious blend of ambient, glitch and twisted yet mellow electronica.
The eight tracks on show here provide us with a myriad of ever evolving and crunchy percussion. Beats that stretch, warp and turn. Each pattern waiting to uncoil and mangle into the next.
Then there’s the dark and deep basslines that provide the ideal backdrop for these shuffling and effervescent soundscapes. But it’s not all bass and complex beats. There’s a whole host of technicolour and expressive melodies in the quieter moments that allow ‘The New Human’ to showcase his knack for exploratory synth work. Glacial harmonics intertwine with classic IDM bleeps that succeed in carrying the tracks into evocative territory.
The album is rounded out with two remixes. Inverness based producer, Beira, provides her own spiky and chaotic take on “Phoenix” before label boss, Fragile X, dissolves “Thought Patterns” into an ambient electronica journey to close out the release.”
This album is an absolutely sublime combination of folk music and classical, with Gaelynn Lea’s violin sounding like a full orchestra. From the release website:
“‘All the Roads that Lead Us Home’ is a focused, vibrant piece of music by a person who is able to take a solitary instrument and make it sound like a full string arrangement, who can fill a full-length LP with mostly just those sounds and communicate fluently her heart and soul with only a few tools.”
– Tony Bennett, Duluth News Tribune”
The near-legendary Old Heaven Books presents another fabulously bizarre album (also available as a CD and reel-to-reel tape) of Chinese guitarist (of Kazakh extraction) Mamer. From the release’s Bandcamp site:
“Mamer first became known as a dombra virtuoso and a modern master of Kazakh folk music. Over the years, he has evolved into a prolific and versatile artist, working across the boundaries of both tranditional and contemporary music. Mamer leads seven band projects: IZ, Bande, Mekrop, TAT, Mask, 51-Rayon, and Kunakar. He has released over 30 records, presenting a diversity of distinct styles including folk, ambient, industrial, noise, improvisation, and drone music.
“Every Mamer is brand new”. On stage, Mamer gives absolute control to his artist ego, surprising his audience in every next performance. An artist who refuses to repeat his past, Mamer creates, solely for the call of his inner world and the vast universe. The only tradition he commits himself to is that of innovation: electric bass, classical guitar, dombra, Dolan rawap, bouzouki, Jew’s harp… Mamer transforms every instrument in his hands, no matter classical or folk, into sound machines from a different planet, sending out outlandish harmonies made up of myriad sound particles. With a remarkably unwavering approach to composition and almost stifling calmness and self-restraint, Mamer has built up a sonic kingdom of his own: of darkness, profundity, and boundless mysteries.“
For those of you who like lo-fi guitar with hints of an instrumental Big Black along with an ominous vibe, you will definitely love this.