Kiyoko – Sea Of Trees

You’d be forgiven for thinking this new album from the Auxiliary outfit (ASC’s label) was conjured in the deepest forests of Japan, surrounded by calm lakes, endangered flowers and Geisha girls. Maybe it was… but given it’s Manchester’s answer to the 30BPM that lie between the 140 and 170 range, I have a feeling this is just one-hell of a superb depiction of escapism from a cold and wet studio in Northern England. That’s just my kind way of saying… transporting a listener in this kind of way requires one hell of a talent.

Don’t let my cold light-of-day put you off. You can listen to this album and not touch the shores of Europe let alone England. And, just like my perceived origins, you’d have no clue as to what type of producer would be be behind such an album.

Not alone, Synkro (Joe McBride) has teamed up with Bering Strait (Jack Lever) – a newcomer it seems, to flip his original sound, to the most extent, on it’s head. If Synkro is the pairs masculine side, then the delicate touches of Kiyoko are the epitome of a feminine side – or at least that’s what ‘Kiyoko’ translates to.

Needless to say, the Japanese influence in here is rife. From the background vocal samples to the three-stringed Shamisen sounding guitars, three things stay true to Synkro’s style:

Emotion; it’s there in buckets and the atmosphere in ‘Sea Of Trees’ is pitched perfectly in between considered observation and personal reflection. Sit back and let the swathes of analogue sounds immerse.

Attention to detail: ‘Sea of Trees’ is beautifully simple, but there’s the odd touch of perfection, take the squelchy sounds balanced against a simple guitar in ‘Open’ for example.

And lastly, spaced-out beats. Just like the autonomic sound Synkro is becoming versed with, this album bases itself on some beautiful head-nodders and scarce percussion. Take ‘Shinagawa’ – probably the most upbeat track on the album, but definitely one of the best.

Like the impact Desolate’s ‘Invisible Insurrection‘ had on 2011, ‘Sea of Trees’ is one of the best albums of the year, and all for the right reasons. It’s come out of nowhere, from a producer experimenting with something new, and it’s refreshingly unique. This one will be on many ‘best-of’ reviews come end of year if it gets the traction it deserves…

 ‘Sea Of Trees’ is available as MP3/FLAC via Boomkat and of course, with any CD orders I’m sure the label would appreciate those direct here.

Helios - Moeity

Released last week to everyone who had signed-up to the website/newsletter and now available to all, Moiety is a new (free) album from Helios, containing eight full length beauties. This isn’t just a free track download, or an album full of one-minute shorts, this is full-on brilliance from Keith which you’d normally pay good money for, and just take a look at that artwork from Rob Simonson.

If you’re familiar with Keith’s work as Helios, then as an introduction i’d say Moiety is definitely more ambient focused than previous albums such as Unleft or Eingya, but then you could draw similarities with tracks such as ‘Halving The Compass’ or ‘Every Hair On Your Head’ – absolutely fine by me I hear you say; these are two of my favourite tracks!

I would encourage everyone to sign-up to the Unseen Music website or follow Helios on Facebook, as Keith is always giving work away – from advert scores to full albums and work under his other monikers, Goldmund and Mint Julep.

Download here (in both MP3 and FLAC).

Listen to Helios’ isolatedmix.

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.