Nehalennia documents the second meeting of the The Cley Project. We were able to meet and play again in the inspiring surrounds of the same artist’s house we used last year in Cley. These tracks are a development of the music we made last year and utilise more prepared musical elements in the improvisations. More time has also been spent on producing and mixing the tracks.
Joseph Myoushin Sanger – Shakuhachi Dave Pullin – Bass Harralulu – Electronics
Recorded & mixed by Cley Project Available now at Bandcamp
A range of heavy dronescapes from Mosiac Tapes aka Simon Thomas, which traverse from fucking intense and dark, to submersed deep underwater, to noisy industrial wastelands. The sound, often reminiscent of distant machinery and ominous rumblings, hangs in the air like a spectral presence, filling the void with a disconcerting and mysterious energy.
Out on cassette and digital, this Friday 1st December via bandcamp
Lovely golden-era synth music, with a library slant, from Pulselovers. ‘Cotswold Stone’ has just been reissued on mad multi-coloured vinyl. Released in 2019, this album is a captivating journey filled with warm analogue sounds that seamlessly transport listeners to a picturesque countryside setting, albeit through a sepia lens. The retro-inspired beauty and traditional song structures of the music effortlessly capture the vibe of being in a truly enchanting place.
You may recall we have occasionally reviewed music instruments on the blog (like the popular Ciat-Lonbarde reviews for example). But this is a first for Flatland Frequencies. We’re going to start featuring select new software that we feel fits the type of music we support and would be of interest to our readers. So what better way to start, than a extremely high end, gorgeous sounding reverb?
So what’s new over the Pro-R 1? Pro-R 2 introduces two new reverb algorithms, ‘Vintage’ and ‘Plate,’ each bringing a unique retro flavor to your mixes. ‘Vintage’ is a nod to classic digital reverb units of the ’80s and ’90s, delivering long, bright hyper-real spatial ambiences 🤤 . Meanwhile, ‘Plate’ serves up the evocative metallic sound of vintage plate reverbs, making it an ideal choice for drums and vocals. These additions expand Pro-R 2’s spatialising capabilities into more synthetic textural territory.
What caught my ear, is the fact it now supports impulse responses. Something as an Ableton Live user, I’ve never had catered for (like those lucky Logic users for example). Pro-R 2 also adds the ability to import impulse responses and have them automatically recreated as algorithmic setups — including Decay Rate and Post EQ shaping — that closely match their sonic characteristics. Whether wanting to binge on the vast array of free impulse responses available online, or capture and emulate favourite vocal booth, drum room, or hardware reverb in Pro-R 2, IR import opens up a whole new world of possibilities.
Anyway, to bring back into context, this thing did AMAZING long tails, perfect for drones and washed-out synth-scapes (which is what we’re all here for, right?)
Elia immerses listeners into a sonic odyssey, Sotto l’Albero Tutto Si Copre weaves a mesmerizing tapestry of avant-garde soundscapes that transcend the boundaries of conventional music. A daring fusion of esoteric instruments from makers like Ciat-Lonbarde and Monome creates an otherworldly atmosphere, transporting the audience to uncharted realms of auditory exploration. This album stands as a bold testament to the artist’s commitment to pushing the boundaries of sonic artistry, inviting us to embark on a transcendental sonic adventure.
Casio Music 2, the latest addition to Nick Joliat’s series, unfolds as a heartfelt exploration of obsolescence, a poignant reflection on musical identity, a meticulous investigation into polyrhythms and timbre, and a poignant transmission from the secluded realm of chronic illness.
Always an exciting day when a Frequency Domain new release email lands. With its stripped-down beats and precise, calculated bleeps, ‘◯’, masterfully embraces minimalism, creating an immersive sonic landscape that feels both futuristic and meditative. The deliberate restraint in its use of elements allowed each bleep and beat to resonate with significance, highlighting the beauty found in the spaces between the sounds. Something that rewards as a listening experience, but could also work in a minimal techno DJ set.
In his latest release under the moniker Tape Loop Orchestra (TLO), Andrew, a versatile musician with a rich history in various genres, showcases his mastery of minimalism and entrancing sonic landscapes. Using a simple setup of a test tone generator, tape machines, and effects, Andrew crafts a mesmerizing experience. The album, titled “Onde Sinusoïdale Et Bande Magnétique,” explores sustained oscillations, layered with carefully chosen tunings of sine drones that organically evolve, creating new rhythms and harmonic structures.
The musical journey of Anagrams, a collaboration between Shy Layers’ JD Walsh and Atlanta multi-instrumentalist Jeff Crompton, unfolds in their debut album, “Blue Voices.” Co-founded by Philip Sherburne and Albert Salinas of Balmat, Anagrams emerged from a shared appreciation for Shy Layers’ distinctive Balearic pop, leading to the creation of an album that defies easy categorization.
“Blue Voices” may initially appear to be a departure from the electronic landscape associated with Balmat, but it’s a sonic exploration that beckons listeners into a realm that hovers between ambient and non-ambient, depending on the listener’s frame of mind. Walsh and Crompton, brought together in 2016 when Walsh relocated to Atlanta, approach their collaborative music with a shared appreciation for ambiguity. Crompton, a seasoned jazz player, humorously remarks, “I like it because it’s not jazz,” while Walsh appreciates it precisely for its jazz-like qualities.
Crompton, deeply rooted in Georgia’s improvised and experimental music scenes, contributes his skills on alto and tenor saxophone, clarinet, electric piano, and organ. On the other hand, Walsh, known for his work as Shy Layers, embraces his experimental side, wielding acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums. Together, they weave a tapestry of richly textured layers and abstract tonal assemblages.
Throughout the 11 tracks of “Blue Voices,” subtle echoes of diverse influences emerge: the atmospheric twang reminiscent of Daniel Lanois’ pedal steel, the mercurial modal runs characteristic of Ethio-jazz, the late-summer calm reminiscent of Fuubutsushi, and the versatility akin to the explorations of musicians like Patrick Shiroishi and Sam Gendel. However, what truly defines “Blue Voices” is the adventurous spirit of two musical minds finding a common language in an uncharted shade of blue.
The album captures the essence of a collaborative journey, as Walsh and Crompton allow their restless musical imaginations to shape the sound spontaneously. “Blue Voices” becomes a testament to the beauty found in the process of creation, where two voices meld into an exploration of an unexplored musical territory, resulting in an album that is as enigmatic as it is compelling.
Sea of Suns EP is reminiscent of Boards of Canada’s distinctive style, effortlessly transporting listeners to a dreamlike realm where nostalgia and futurism coalesce. The artist (of the same name) weaves together intricate electronic textures, ethereal melodies, and sampled drum loops, creating a sonic landscape that feels simultaneously familiar and otherworldly.
Our favourites being the second half of the EP, where the sample loops give way to bring focus on the melodic elements.