Carbon Based Lifeforms – Twentythree

It’s been floating about for a few weeks now, but there’s quite a few reasons why I’m finally posting about this majestic piece from Sweden’s most discerning ambient and long lasting duo. One, i’ve realised I havent even featured Daniel and Johannes’ work on ASIP before (criminal). Two, they will be gracing London next week in a very rare Ultimae performance (I CANNOT wait). And three, this album will go down as an all-time classic with me, after several repeat listens and a growing love for the album each time.

Twentythree is Carbon Based Lifeforms fourth release on Ultimae, the long-standing label which is also home to fellow countryman Solar Fields. A fourth album from a partnership which has stood the test of time – since Daniel and Johannes were just 15 years old to be exact, and their relationship seems to have hit it’s peak; Twentythree is already being touted as their best work to date.

I’m not going to go into detail on each of the tracks included on this release. This album is quite simply, classic, perfected ambient music. Atmospheric, melodic, emotive and spacious, Daniel and Johannes seem to come off effortlessly with an album which will stand the test of time. I wouldn’t be surprised if i’m looking back at this album in fifteen years time the same way I do with Biosphere’s masterpieces… Big, I hear you say? Just give it a try…

Oh and I almost forgot, the fourth reason for this post; we may be expecting a little mix series contribution from Daniel and Johannes in the near future…

You can purchase twentythree from the Ultimae Bandcamp or the physical version from Ultimae directly. If you’re planning on attending the CBL London gig, please get in touch!

Casino Versus Japan – Night On Tape

En-route from Attack Nine records in USA, the trans-Atlantic CVJ package took several painful weeks to reach me, but the limited edition, deluxe vinyl, CD, mp3s, t-shirt, bag and badge package was definitely worth the wait. I don’t often write reviews, but with such a great release from one of my favourite artists, a few words might go a little way to paying back the time and effort Erik Kowalski has put into this release.

Night On Tape isn’t an album you can just quickly press play on, skip half the tracks, or just listen to the start. Nope, unlike a few of Erik’s previous albums where i have found myself listening to just a few tracks over and over (my love for Metrobolt on Go Hawaii for example), Night On Tape, is an album listened to best in its entirety.

‘Hello you’ – a subtle introduction with delicate shoegaze-esque guitars, is quickly proceeded by the warm fuzzy and static noises from ‘Flow Of No Go’. It’s not until half-way through this track, that the first melody creeps through, but even then, it’s a raw distorted guitar which gently fades away into heavy muffled noise.

It’s a pattern that continues throughout. Initially lacking any fast stabbing drums or beats which have become a staple sound on many of Erik’s previous albums, Night On Tape grows slow and dark. Content with putting you into a comfortable slumber, it’s not until five tracks in that a glimmer of light creeps through in the form of a marching drum, blanketed by an airy drone, like a welcomed Sunday morning awakening. But you weren’t meant to wake up just yet.

Albums before, many of these tracks may have developed quicker, with more melody and recognition. Despite several sharp moments of loud distortion, the tracks are slowly wrapped amongst glimmering ambient tones, pads and filters. Where lacking in melody, it seems Erik has instead, focused on an array of different ambient sounds, distorted guitars and atmospheres. Creating harsh instrumental landscapes that when fused together, form beautiful thought-provoking tracks. Almost cinematic at times, each track develops without any obvious repetition. The kind of music you can never remember, and sounds new every time. For some, that defines an album which is easily forgotten. For me, it’s the making of an album I come out of, and want to dive straight back into.

The last track, ‘Miano: A Pink Night For The Snowmen’ is the tapes sunrise. After nineteen tracks of night, the textures peak and the rough-edged drums and replaced by a tinkering Piano. A fitting morning, to a Night on Tape.

The album may be a surprise to a few CVJ fans who have come to love Erik’s spaced out, sometimes quirky electronica. The distortions, filters and raw instruments are still there, but the melodies are sleeping. Described as ’20 previously unreleased tracks from CVJ’s recording archives’, this long un-interrupted night has been reserved for Erik’s hidden ambient gems.

I’m not sure if there are any more deluxe packages left (grab it if you can!), but you can get the CD or digital download from the Attack Nine website.