Zero Cult - Vacuum

STYLE
December 2011
Ambient chillout and blissful downtempo.
Vacuum is a delicate and sensitive album of lush, evocative electronica where languid beats and dream-like soundscapes support subtle melodies. These softly unfolding themes heave with hypnotic beauty, yet always retain plenty of complementary shade and dignity. Most tracks have extended, unhurried introductions where Zero Cult's ambient atmospheres can fully spread like multi-coloured mists before the rhythmic material sets everything in motion. There are also plenty of beatless interludes where the percussion falls away completely and sometimes the whole melodic framework too, leaving the listener gliding upon faint air currents ready, anticipating the second coming. Overall, Vacuum has a fine balance of light and shadow, delivering attractive compositions that feed the attention whilst neatly avoiding the clichés of the psychill mainstream.


IN DEPTH
Vacuum opens gradually with a hypnotic interplay of misty pads and lustrous echoing effects; sonic winds curl around ascending tones and a gentle rhythmic structure slowly coalesces: vibes, synth arps, bass pulse and, about three minutes in, a ponderous programmed groove. This track - Muse - establishes what the album is all about: saturated colour; serene harmonies and breezy beats. Heartworks sees the trance elements of Zero Cult's sound solidify around a bubbling bassline and measured beat, but this denser sound quickly evaporates as the next track once again takes on a more weightless approach. The album has at its centre the gorgeous Second Breath, this is a wonderfully transportational piece that revolves around a mesmerising motif that carefully evolves and repeats with a tender, insistent intensity. 8 Hertz introduces a more mechanistic tone arising out of dark drones and reverberating voice samples: here a sparse, thumping kick and grumbling bass line give the track a slightly sinister edge. For the most part this is a purely instrumental album, however, just before the end there is a track that casts a different spell: a soporific, meandering piece of hazy euphoria where an unusual female vocal hangs in the air, haunting the synthetics with a wistful song from New Zealand's Aviatrix.


ARTWORK
The cover artwork for Vacuum features a hi-key design where a complex tangle of synthetic grey-white thorns lies upon a smooth, pale, infinite plane. Like some hollow, plastic urchin or structure of artificial cactus spines this jagged, monochrome formation is in stark contrast to the curving, fluid music within. I don't yet have a physical copy of this album and so can't comment on other artwork except to say that I have had a number of Cosmic Leaf releases over the years and the graphic quality is of a consistently high standard.

OVERALL
Israel's Emil Ilyayev returns here with his sixth album of downtempo trance and follow-up to the 2010 release: Clouds Garden. Once more on Cosmic Leaf Records, Zero Cult delivers a maturing sound that luxuriates deep within the reverie of ambient chillout. The ten tracks here include two versions of the deliriously laid back Second Breath: an original mix and a second vocal radio edit featuring Aviatrix with the distinctive voice of Kerensa Stephens. Dying Dolphin has an accompanying video aimed at raising awareness of the plight of these endangered mammals. The footage displays some of the horrors of the 30 000 or so dolphins slaughtered around the world each year. You can further learn of Vacuum at the Cosmic Leaf website or you might like to visit the official Zero Cult pages at Myspace and Facebook.


ARTIST'S THOUGHTS
Vacuum is an album of almost two years of creation, it reflects my emotional experience
within that time. I advise listening to the album as one complete whole, then you'll get the fullest pleasure from listening to the music.

LABEL'S THOUGHTS
Release Info:
Zero Cult is back with his new 6th ambient chill album, Vacuum.One of the most selling and high feedbacked cosmicleaf artists.His wonderful trance influenced soundscapes that creates, combined with the mysterious downtempo melodies and rhythms, promising a great sound pleasure for the downtempo listeners.
Label Info:
Cosmicleaf is one of a new wave of labels from the global progressive and psy-trance underground that is reinventing dance music for the ambient zone beyond just stripping away the fast tempos. The global talent such labels are attracting is inspiring. Cosmicleaf releases have both darkness and light, familar genre sounds and strange new sounds, a mindset open to genuine variety and which understands "beautiful" is something profound, not cheesy or trite.
The ambient spaces between electro, trance, rock and world fusion are fertile ones, and the richness here suggests a group of artists diving headlong into them with passion, open minds and impressive programming skills.

Kamil Kowalczyk - Aurora

STYLE
June 2011
Minimal spacedrone, ambient abstract.
Aurora is made up of two longform recordings; dark, isolationist and spacey. The first of these beatless compositions fades in gradually as a single undulating thread of tone. Almost imperceptibly, additional elements trickle into the mix, percussive clicks and mechanical blip-click patterns thickening the sound. This relatively high pitch ambience alters little for almost eleven minutes before the central drone is joined by a deeper note an octave or two lower. Around the twenty two minute mark a second notable drop in pitch occurs. Gossamer electronic flutters dance faintly through the shadows and other distant sounds appear to hang deep within the music on the edge of hearing. Track two likewise fades out of nothingness to morph and evolve in ponderous, pulsing sparcity. Low beds of shifting tone writhe uneasily: clean and glassy here on 'plasma' as opposed to the more matt textured sound of 'model II'. The dominant texture-drones undulate in subtle rhythmic form, layered with surges and infusions of higher sound; pattered in places establishing partial cadence; atmospheric in others suggestive of faint nebulous colour.

ARTWORK
Artwork for Aurora is as minimal as the music: black and white graphics presented in a standard jewel case. The two-tone front cover image centres on the circling dots and blots of what appears to be a spiral galaxy. A second, more intense whorl is contained within two horizontal lines on the rear cover. Here beneath a repetition of the main title are track titles and brief website, email and writing/production details. The insert is a single sheet: the flip side repeating the letterboxed galaxy design with only the two track titles above.

OVERALL
Of Polish origin, writer/musician Kamil Kowalczyk currently resides in Scotland. An early interest in unusual audio and experimental synthetic sound led Kamil to begin recording his own music in 2002 resulting in a series of albums, six released in mp3 format on US Zenapolae net label. More recently he has begun taking on live performances and has established his own record label Prototyp Produktions Ltd. Aurora is Kamil's debut CD album on his own label, containing two long tracks, “model II” and “plasma” at thirty two minutes eleven seconds and twenty five minutes eight seconds respectively. Promotional material explains: "The main concept for album was conspiracy theory about Aurora – a top secret, ultra fast US Military aircraft, also called TR-3B, which has very advanced technology, and special engine driving by plasma… I have used almost exclusively Virsyn Tera for most sounds, which I create from scratch on this stunning synth."
You can hear the music at Kamil's record label website Prototyp Produktions Ltd.as well as purchase the CD.

ARTIST'S THOUGHTS
A debut CD album from sound artist/composer Kamil Kowalczyk. It contains two long tracks, “model II” and “plasma”. The main concept for album was conspiracy theory about Aurora – a top secret, ultra fast US Military aircraft, also called TR-3B, which has very advanced technology, and special engine driving by plasma…

Dan Pound - Medusazoa

STYLE
March 2011
Smooth, oceanic ambient electronica.
Medusazoa is an album of warm, fluid, mostly beatless synth environments. Drifting pads and velvety drones waft and mass around emergent pulse formations and rhythmic digital fragments. Liquid clicks and flecks trickle against synthetic vibrations or burble alongside repeating motifs; lazy scale patterns meander upward, downward; peculiar disturbances rustle and murmur and there are occasional sussurant flushes of turbulence. A downtempo beat arises midway through the title track, lazy and uncluttered; beguiling watery purring sounds cycling around. Some tracks centre mostly on the ponderous heave of layered drones, the flutter and flicker of rhythmic ephemera deep within. Others have subtle melodic elements: hypnotically repeating motifs; sparse piano phrases, electric guitar touches; these buoyant centres of regularity suspended in sequential tides or wandering afloat through ambient densities.

IN DEPTH
The title track opens with a luminous, repeating synthtic chime motif echoing upon an undulating low drone. Soon the melodic repetition drops off and an ambient bed opens out as if the listener has strayed into deeper water. Here a variation on the previous motif begins to well up with more of a piano sound, evolving and meandering until a second evaporation. Now a distinctly different liquid environment emerges that is more suggestive of surface water or at least of the presence of trapped air: laps and splashes rippling about a sybilant purring noise that recurrs in organic pairings establishing a loose rhythm. Drfiting piano notes once more provide intriguing melody, deep single tones and lazy higher runs. At around this mid point of the twelve minutes fifty three seconds of Medusazoa a serene beat fades in, simple hihats, programmed snare and lazy kick building around the nodding measure of the pulsing purr. For a while now this dreamy rhythmic pool of lilting piano melody floats in blissful reverie until the beat ebbs away at around the nine and a half minute mark. The purring remains a while upon a much more distant memory of percussion, reverberating piano phrases thinning out upon a low drone echoing the introduction until stillness. A very relaxing composition, highly evocative of the underwater environment Dan is summoning up and the delicate life forms upon which this album concentrates.

Gear List
Synthesiser.com analog modular system; Nord lead 2; Korg R3; Yamaha AN200, Korg Electribe; Dave Smith's Evolver; Roland XP-10, Fender Stratocaster, various effects, processors and sound shaping equipment..


ARTWORK
Medusazoa arrives in a jewel case with a single sheet insert. Artwork is all of saturated blue hues with soft-edged jellyfish forms hanging transparent in mid-distance. The front cover features a beautifully orange lit specimen, curling streamers and slender tentacles arcing in a graceful curve below. On the rear cover a number of the creatures form a loose cluster; some luminous and distinct, others vague, transparent. Track titles are here with times alongside, also website details and an email address. Within, the insert flip side presents an almost circular aspect with geometrical horseshoe shaped organs pinkly lit. A concise gear list sits here at the left foot. Behind the disc itself a veined close-up image, highlighting the inconsistent densities of these intriguing lifeforms.

OVERALL
US based Dan Pound has a discography as long as your arm and a musical resume to match. Having classical training for piano, guitar and double bass, Dan is an experienced composer for orchestra. He also has degrees in recording engineering and electronic music technology and currently specializes in producing music for film and multi-media. Dan works from his own studio and releases his music via his own recently established label Pound Sounds. This latest release, Medusazoa presents seven mid-length tracks ranging from the four minute six second Living Fossil to the fourteen minute plus Tentacles. Promotional material explains that this music was "made to accompany the fluid movements and colorful bio-luminescence of the jellyfish, flowing and drifting with the currents". Sound samples can be found on the Dan Pound website as well as a further description of the music.

ARTIST'S THOUGHTS
My personal feelings about this album are simply that this is exactly where I need to be right now musically and creatively. I finally feel like I have come into my own as an artist. No compromises or expectations. Just pure expression.
This is exactly the kind of music that I would listen to, even if it was not my own.

LABEL'S THOUGHTS
Get ready for your own liquid space aquarium music environment.
Based and built from analog modular synth drones, patches & effects, this is pure underwater dream zone music.
Made to accompany the fluid movements and colorful bio-luminescence of the jellyfish, flowing and drifting with the currents, the blend of sounds are surprisingly organic in their textures, and mix well with crustacean-like effects and poly-sequential, fractal rhythms & pulses.
Expansive, slow moving, aquarium-like environments are penetrated and felt deeply here.

Instruments used:
Synthesizer dot com modular system, Nord lead 2, Yamaha AN200, Korg Electribe, Dave Smith?s Evolver, Roland XP-10, Korg R-3, Fender Stratocaster, various effects, processors and sound shaping equipment.

Tracks:
1. Liquid Body 12:38
2. Under Her Spell 5:09
3. Living Fossil 4:06
4. Medusazoa 12:53
5. Tentacles 14:02
6. Bioluminescence 9:56
7. Currents 12:35

Inspired by the movements of fluidity and bio-luminescent colors of the jellyfish, this is an all out analog excursion of ambient liquid space.
Get ready for deep liquid space immersion with Medusazoa.

STYLE
March 2011
Downtempo psychill, lush electronica and acoustic performance. Inspirational Power opens with a gentle, beatless melodic piece built around a cycling, sequential pattern; distant male vocals hang wordlessly in the bright Autumn air; warm atmospherics; tranquil harmony. Chronos appears to be revelling in the beauty of digital sound on these tracks: gradual developments and expansive interludes in no rush to a final destination; beats that seem to inhabit the music rather than dominate; attractive melodic phrases and the intertwined twinkle of arpeggiators. There is a distinct sense of a musical journey to the album as the earlier restfulness develops into more climactic pieces with heavier grooves around the midway mark. Finally the music ascends spaceward via the synthetic sci-fi tones and philosophical musings of Optimistic Future and the meandering, ethereal, beat free concluder Forgiveness.


MOOD
The shifting mood here is often one of deep serenity and unhurried reverie. The intricacies of the beats are frequently offset by drifting ambient progressions and mesmerising evolving repetitions. There are spacey sections in places where the electronics take on a more sinewy, sharper-edged nature. Occasional global elements introduce touches of earthy exotica; most prominent on the folk remix of Sky Path: here flamenco style acoustic guitars juxtapose tribal drumming and Indian vocals before the track breaks wide open with an Irish reel played on distinctive uilleann pipes. There is even a progressive section with flute improvisation and a brief but distinct nineteen seventies vibe that arises during Deus Ex Machina.

ARTWORK
A jewel case presentation, Inspirational Power is fronted by a sharp graphic image of running figures upon interconnected cogs. Bold, black, dynamic - stare long enough and the whole things aches to move - set against a sleek icy grey ground that reflects the man machine in the foreground. The rear cover tracklist includes writing, production and collaborative credits laid out over greys and gears familiar from the flip side. Within, the double page spread of the insert is a rich presentation of photographs and text. There are performance shots highlighting the acoustic/electronic blend of Chronos' music with colourful instruments displayed and engrossed players at work. As well as the usual contact and technical details there is an interesting paragraph of background information on the artist.

OVERALL
Russian musician and sound designer Nick Klimenko delivers his third album as Chronos. Having collaborated back in 2009 with Catalizer on the Ajana release Quid est Veritas? he now follows up his debut solo of 2007 Steps to the Greater Knowledge. For Inspirational Power Chronos has turned to the Beats & Pieces label. There are ten tracks in all here that rise out of restful introspection gradually into dynamic downtempo psychedelia and global chill before floating right off through the stratosphere into infinite space. This album reveals Chronos to be a multifaceted project with both carefully crafted studio work and live performance aspects in evidence. The depth and colour of sound benefits from Nick's work developing virtual instruments and sound libraries as well as his collaborative relationships that give rise to some engrossing instrumentation threaded through the electronica.


WHO WILL LIKE THIS ALBUM
Inspirational Power is one of those electronic albums that transcends the usual genre limitations; promotional material rightly claims that "it explores the paths between ambient, chillout, ethnic music and psychedelic hypnotic trance vibrations." Fans of colourful, deeply chilled psytrance will enjoy this release, so too will those with an interest in global dance music. The Beats & Pieces website holds listening material if you'd like to see for yourself.

Various Artists - Summer 2010 Collection

STYLE
Contemporary electronic chillout. The Summer 2010 Collection from Cymbidium is a warm album of lustrous synthetic glitch and electro-beat both vocal and instrumental. There are pieces here with something of a modern lounge vibe; others that have a fractured, experimental feel; moments where the electro-pop of the nineteen eighties is called to mind; slick jazzy montage sounds and relaxing, soulful female vocals. Sensuous, muted sax juxtaposes dappled light textures and tinkling metallics on Sleep Mode, the opener from Saine; an effected beatbox groove contrasts the dreamy male voice singing on MC Hossni and DJ God Wind's track Traveling. Kaneel's Loquace ranges from dreamy wobbling arpeggios against flickering clicky percussion to an intense zappy tremolo sound collage. Cut and paste sampled speech, languid piano and static texture, crunchy programmed rhythms and serene melody - this collection doesn't stand still for too long.


ARTWORK
Summer 2010 Collection features the cover artwork that you can see to the above left. A vibrant female portrait in shades of saturated orange where photographic elements blend with hand drawn line art and graphic enhancements. Since this is a digital release this crisp design by Oliver Cartwright is the only visual content.

OVERALL
Helsinki based independent recording company Cymbidium Records delivers a sharp compilation of electronic downtempo fleshing out an already well established discography (the label having been in action since 2005). The ten tracks here feature artists from Finland and beyond, some that have released albums of their own via Cymbidium as well as some less well established acts. The music has been chosen for inclusion by Costi, supervised by Saine and delivers a constantly changing eclectic chilled landscape with influences ranging from IDM, ambient groove and experimental electronica to urban abstract, jazz and funk. The album is a digital release and can be sampled in full both at Morpheus Music as well as at the Cymbidium website.

STYLE
Deeply chilled ambient electronic soundscapes. This latest compilation from the excellent Aleph Zero label pulls together some of the most cutting edge sounds in the world of drifting, glitch infested downtempo currently advancing over the horizon. The music ranges from intensely beautiful and dreamy to somewhat disconcerting and alien. Ovnimoon contribute a gorgeous track called Cajita De Sorpresas where buoyant hazy pads support a lustrous, fluid lead against an insectile, intricate beat. An interesting collaboration from Omnimotion and I Awake entitled Rebooting Daisy maintains the blissful, hypnotic floatational approach with a slightly dislocated groove lumbering aside sensuous female vocal layers and some delicately sparse melodic touches. Vataff Project's Owl is an example of the more disconcerting nature of darkness - a scratchy percussive track with a sequence of uneasy drones and sci-fi mechanisms. The album winds down with Shulman's One Step Closer; here remixed by Eitan Reiter and DJ Shahar. Maintaining the spacey vibe of the previous piece, this broad composition introduces a reverberating sax that luxuriates in the groove driven expanse before dropping away into a beatless pool of shifting synthetic currents. The concluding track is from Minilogue Feat. Inid Imman: a ponderous, gently thudding form with guitar manipulations and ample surface damage - light whispers and minimal melody - mesmerising light-headeness - heartbeat pump - fade to black.

MOOD
Dark Room Beats is an album full of brooding low-light atmosphere where periodic surges of warmth course through the night shadows and luminous colours twinkle and glow. The name is well chosen - this is certainly one for enjoying with a good sound system in a darkened room - or maybe for creating your own relaxing, dusky mindscape elsewhere during your day. Full of feeling, with an unhurried approach and ample room given over to building up mood and ambience.

ARTWORK
In keeping with the theme, artwork for Dark Room Beats is resolutely black across every panel. The front cover holds a simple image of a glowing lamp, yellow-orange and warm upon an infinite darkness. Flipping over, a tracklist is on the rear, set alongside a duplicate of the lamp. Turning to the insert, this opens out into three panels with a second tracklist on the outer first, simple logo on the central. Inside there is a section given over to thanks, a second with a more graphic representation of the familiar lamp form, contact details below, the third section presents an expanded tracklist, this time with writing credits and some additional performance information.

OVERALL
Aleph Zero compilations are always something of a delight. This one took three years of meticulous work to "design the room's sonic surroundings". The label is clearly intent on setting the standard for others to follow with this collection, Shahar and Shulman having selected thirteen pieces of visionary ambient glitch-chill that are of amazing quality and gratifying consonance. A number of Aleph Zero favourites are of course here: Shulman, Hibernation, Omnimotion, Vataff Project and Krusseldorf. Label head DJ Shahar brings his talent to bear in sharing with Eitan Reiter to remix the Shulman track One Step Closer. Other artists include Altair, Phasephour, Ovnimoon, I Awake, Good Rester, Alexander Daf, Aligning Minds and Minilogue Feat. Inid Imman. Robert Rich provides another highlight with Moth Wings: a lush, coruscating piece of sonic chiaroscuro featuring a meandering, sonorous flute.
Promotional material suggests "Come relaxed and open minded, turn off the lights, and let us take you somewhere else without ever leaving your room." Why not explore the eflier and see if you'd like to take up the invitation.


WHO WILL LIKE THIS ALBUM
Dark Room Beats will appeal to downtempo fans that enjoy the more ambient side of the genre. This is a high quality release that the more discerning listener will appreciate. Aleph Zero and Ultimae seem to excel in this type of lush, glitchy chillout.

SOLAR CAMEL - TRAIN IN A RAINBOW (REISSUE)

STYLE
Warm, inviting new-age electronica with strong emphasis on melody and thematic development. Many compositions here, such as Sailing and Solemnis are formed around carefully constructed lead lines where the melodic arrangements take centre stage, whereas tracks like Hunting, for example, are more rhythmic at heart, allowing layered phrases and sequencial patterns to drive the music.With percussive content often to the fore, Train in a Rainbow sees each track unfold to a different programmed beat, most of which are bright, lively synthetic affairs of mid to uptempo pace. Sometimes, as with The Lake, grooves are accompanied by percolating arpeggios, other pieces feature fusion rhythms with ethnic percussion.

MOOD
Train In A Rainbow has a positive, light mood for the most part, combining the warmth and overt passion of new-age music with the electronic mechanism of much Berlin school electronica. There are some dramatic pieces with orchestral or string sections, whilst at the other end of the spectrum there are some dance tracks with something of an 80s synth pop feel. The liquid clarity of the sonic palette and the uncluttered nature of the arrangements give the album a rather high-tech sound with a peaceful, lucid quality.

ARTWORK
The updated album arrives in a jewelcase with single sheet insert. The front cover image features a colourful graphic locomotive apparently travelling along a twisting rainbow. This same image is repeated on the rear cover only here it is faded away into ghostly pallor with track titles overlaid. At the foot of this back panel can be found website details and an email contact address.

OVERALL
Agostino Mascarello's solo project Solar Camel released the Train in a Rainbow album (previously reviewed at Morpheus Music) in 2009. The disc has since been given an overhaul with attention paid to providing a more consistent track list focussing on electronic sounds. The classical side of Agostino's personality can be experienced through the Roots and Wings album also reviewed recently at Morpheus. Once again Agostino's digital piano/synth/vocals are accompanied by the voice of Brazilian born Déia. The new disc consists of no less than eighteen tracks and can be found at CD Baby or alternately you can sample some tracks and keep up with new developments at the Solar Camel Myspace page.

WHO WILL LIKE THIS ALBUM
Train in a Rainbow is an album for lovers of synthesiser music with a new-age pop sensibility. Working a similar territory to Zer0 0ne, Vitaly and Mythos - this music might well be appreciatd by listeners enjoying gently energetic modern sounds with electro-groove beats. If you're wondering whether this is one for you - why not sample each of the tracks at CD Baby?