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Charmed Birds Against Sorcery" is the third studio album by New Englan
d-based musician Erik Carlson, and constitutes a startling development in his sound. The first Area C record, 2006's "Traffics + Discoveries," was a small marvel of whirring loops sourced primarily from processed guitars. Last year's "Haunt," Carlson's second record for Last Visible Dog, was a different affair entirely, investigating the provocative drone capabilites of farfisa organs. The compositions which constitute "Charmed Birds..." develop and, often, transcend the motifs found on these prior albums, with Carlson revealing an astonishingly refined and singular approach to guitar-based composition. Soundwise, the album recalls more the crystalline, kaleidoscopic webworks of the first Area C record than the ragged organ workouts of "Haunt." Glacial harmonics drift in and out of each channel, skittering, modulated notes pulse and surge, sputtering suddenly to luminescent manifestation before disappearing just as quickly. Many of the compositions here are in fact more remniscient of the ambient side of Wolfgang Voigt's work in Gas, or perhaps the less beat driven aspects of "94 Diskont"-era Oval than what we've come to expect from what is ostensibly a 'guitar and electronics' based project. An almost kraut-like rhythm subtends the topography of "Composition Journal," the album's stunning opener, its low throb punctuated by brittle shocks from deconstructed drum machines over which Carlson weaves a spiralling lattice of bowed and picked notes. Later, on "Sleeping Birds," we're presented with a lulling idyll concocted by way of flute-like tones and languid note clusters, a shorter piece which dissolves seemlessly into modulating static at the onset of the pointillist microcosm that is "Spell of Resistance." The title track is without question the album's apex and constitutes a formal peak in Carlson's discography, as brilliant, bright guitar lines tread effortlessly in a sea of tranquil pulses and disembodied percussive elements. Area C - Charmed Birds Against SorceryLabel: Students of Decay 
Catalog#: SOD-18 Country: USAReleased: February, 2009
Genre: Leftfield Style: Electro-acousticTracklist:1. Composition Journal2. Of Set Purpose, No Arrangement3. Fact, Fancy, Legend4. Sleeping Birds5. Spell of Resistance6. Meeting Mid-Air7. Charmed Birds Against Sorcery8. Black-Thorn, Falcon, Picris
German duo Albrecht Kunze and Ekkehard Ehlers open their sophomore effort with the gently acoustic “Forever Never,” which floats through the room on a feather
and a sigh. The avant garde sonic experimentation of the field recordings “März Im Park” and “Oktober Im Park” (March and October in the Park, respectively) mix backwoods banjo-driven German folk songs with sounds of laughter, babbling brooks, bicycle bells and assorted percussive effects to the point of distraction, and the album would have been even more enjoyable without them. But the proggy, mildly psychedelic “The River” rescues the day with its appropriately rolling melody which reminded me of Peter Gabriel fronting The Dream Academy covering The Byrds “Ballad of Easy Rider” and features nice trombone flourishes from Jakobus Siebels. Glitch music fans may enjoy the next musical interlude, “Tropige Trauben” (I’m guessing “Tropical Dreams”), but others will be left scratching their heads at this puzzling phenomenon – the digital equivalent of the old scratching technique employed by turntablists back in the 80s, the most famous example of which is probably Herbie Hancock’s “Rockit.” The swirling, loopy “Blaue Fäden (“Blue Threads”), which, along with “The River,” previously appeared on a limited edition 10”, would make a perfect entry in Darla’s “Bliss Out” series and compares favorably with the works of Jim Rao (aka, Orange Cake Mix) and Detroit ambient spacerockers, Füxa. And just when you think you’ve got a handle on März’s sound, they hit you with “Some Things Do Fall,” a childishly silly, infectious as hell loop whose lyric consists of the title repeated ad infinatum over a jaunty, carnival-like backing, and the carny atmosphere continues on the jovial instrumental “Biber & Enten” (“Beavers & Ducks”), and it’s soft-shoe shuffle rhythm will put a smile on even the most jaded listener’s face. I also liked the romantically quiet strings, vibes and electronics of “Welt Am Draht” (“World at the Wire,” which, probably not coincidentally, was also the title of a 1973 Fassbinder movie for German television), which wouldn’t be out of place on a Soothing Sounds for baby compilation, and if there was a better example of pure pop perfection than the aptly titled “The Pop Song,” I’ve yet to hear it. So, despite some minor misgivings on the electronic noodlings, experimental sonic collages and field recordings, this is one of the year’s prettiest, quietest releases and is highly recommended to fans of soothing, electronic soundscapes. März - Wir Sind HierLabel: Karaoke KalkCatalog#: karaoke kalk 29Country: GermanyReleased: 25 Oct 2004Genre: Electronic, PopStyle: IDM, Experimental
Tracklisting:1 Forever Never (4:20)2 März Im Park (3:31)3 The River (5:13)4 Tropige Trauben (4:20)5 Blaue Fäden (6:40)6 Some Things Do Fall (3:18)7 Biber & Enten (Plattler) (5:00)8 Welt Am Draht (3:38)9 Oktober Im Park (4:44)10 The Pop Song (4:36)11 Wir Sind Hier (4:05)
Sometimes you think all has been said about some music, and maybe there is always a bit of truth in that. However, the good thing about music is that it is never confined to one 'true' moment but is with us in many different ones. And just like these moments change, the perception of and emotional response to the music you are listening to change as well. The music of März creates new sensations and emotions once you let yourself be captivated by it - some moment or other: at home, in the park, in the evenings in the company of friends. Some things on love streams will sound familiar, yet new - as if having moved to a another neighbourhood, which is neither better nor worse than the old one. The overall composition of each separate piece and of the encompassing whole is so self-contained and dense and at the same time so close to us that one feels like sinking into it. This fascination might best be compared to that of some classic singer/songwriters, who by way of the lyrics let us share in their pain, melancholy, joy -and their personal revelation. Only here, it's not the words but the music that is doing this to you. Maybe this is 'new folk'.
März - Love Streams
Label: Karaoke KalkCatalog#: karaoke kalk 13Country: GermanyReleased: May 2002Genre: Electronic, PopStyle: IDM, Minimal, ExperimentalTracklisting:
1 Introductory (4:35)2 Things Can Only Get Better (2:55)3 The Cricket Song (4:32)4 The Help Song (6:12)5 Interlude #1 (1:06)6 Chelsea Boys (6:17)7 The Hysteric Song (5:19)8 The Rain Rains (3:38)9 Interlude #2 (1:16)10 Love Streams (4:54)11 Everybody Had A Hard Year (4:08)12 Bars 1, 2, 3, 4 (5:20)
Keith Kenniff must be a very busy fellow. Eingya is the second release under his Helios name and it’s a dramatic step up from both of his previous albums, m
ixing little flourishes of each style as well as a great sense for composition and subtle arrangements that pushes the entire release into a gloriously dreamy realm that hovers somewhere between Boards Of Canada and the quieter moments of Sigur Ros. After a hushed opening track that mixes some soft ambience and piano tinklings (aka Goldmund) with a couple layers of intertwining guitar, the release drops the absolutely gorgeous “Halving The Compass,” which is one of the more affecting songs I’ve heard lately. Again mingling some delicate piano chords with soft layers of drone and field recording, the track slowly builds with subtle, shifting layers of pretty guitar melodies and a watery rhythm. “Dragonfly Across An Ancient Sky” is just as solid, opening with a repeated plucked bass phrase before again pushing forward quietly and confidently with a loping beat and sly instrumentation. Other than a small lull about halfway into the disc, where the album stumbles a smidge on two shorter tracks (the ambient yawn of “Vargtimme” and the meandering “For Years And Years”) Kenniff keeps the album moving along nicely with song after song of engaging music. “Paper Tiger” starts out with panning electronic tones, but soon shifts into a quiet little post rock track that mixes some nice guitar work with thick analogue bass and a mixture of live and programmed beats. Meanwhile, “The Toy Garden” sounds like it was pulled directly from an older Boards Of Canada album during the first half as heavily reverbed drum sounds drift through a cloud bank of swirling synths, while the second half shifts into a brighter, acoustic guitar driven piece that clears the air a bit. Helios - Eingya
Label: Type RecordsCatalog#: TYPE011Country: UKReleased: 15 Jun 2006Genre: Electronic, RockStyle: Acoustic, Downtempo, Ambient"I'm not who I have in memoryNor who is in me now.If I think, I self-dismember.If I believe, there is no end.-Pessoa"Tracklisting:1 Bless This Morning Year (6:01)2 Halving The Compass (5:27)3 Dragonfly Across An Ancient Sky (5:41)
4 Vargtimme (3:58)
5 For Years And Years (5:33)
6 Coast Off (4:53)
7 Paper Tiger (4:33)8 First Dream Called Ocean (3:51)
9 The Toy Garden (4:43)
10 Sons Of Light And Darkness (4:32)
11 Emancipation (2:35)
Travis Stewart has produced/composed several albums under various a
liases since 1999 (Syndrone, tstewart, Neonblack, h8 among many other names) and has covered a variety of styles. Under the name Machine Drum, his most well known project, his debut album "Now You Know" was released early 2001 on the influential Miami-based Merck Records and gained the attention and praise of musicians, fans and critics world wide. With nine albums already under his belt, Stewart is readying the April 12th release of "Want To 1 2?" on NYC-based Normrex.
If it’s true that the second album in the career of a musician is the most critic
al and 'difficult' -particularly if the first one created big expectations in public and critics, Tsotsonis accomplishes with 'So, this is heaven' to exceed himself as we knew him through his previous work, 'Peak', which enjoyed the most warm reception, in Greece and abroad.In the 15 tracks of his new album, Serafim Tsotsonis not only does not hesitate to reinvent his musical style, but decides to go deeper in the philosophy of electronica, using melodies, sounds and rhythms with a great amount of inspiration. In addition to that he goes further, using elements of the modern post-rock music scene and of the avant garde sound of the past decades. Serafim Tsotsonis does not follow the easy way, but he leads his music in experimental paths, without however leading to sound extremities, since his sensitivity as a composer, ensures the essential balance between the 'innovation' and 'classic'. Vocals are particularly important in his new album, as he does not only use them in the 'classical' fashion, but also as music instruments in the layout of his melodies.
Serafim Tsotsonis - So This Is Heaven
Label: Klik RecordsCatalog#: KLCD050Country: GreeceReleased: 06 Apr 2009Genre: ElectronicStyle: Deep House, Future Jazz, DowntempoTracklist:01. Poles02. Yours03. Red Shoes
04. Moui Yam Yam05. Bicycles On Hudson06. Katrin07. Mr Wad08. Is09. I'm Free10. 2311. Stay12. She13. The Teasers14. Mott Street15. Ask Me
d-based musician Erik Carlson, and constitutes a startling development in his sound. The first Area C record, 2006's "Traffics + Discoveries," was a small marvel of whirring loops sourced primarily from processed guitars. Last year's "Haunt," Carlson's second record for Last Visible Dog, was a different affair entirely, investigating the provocative drone capabilites of farfisa organs. The compositions which constitute "Charmed Birds..." develop and, often, transcend the motifs found on these prior albums, with Carlson revealing an astonishingly refined and singular approach to guitar-based composition. Soundwise, the album recalls more the crystalline, kaleidoscopic webworks of the first Area C record than the ragged organ workouts of "Haunt." Glacial harmonics drift in and out of each channel, skittering, modulated notes pulse and surge, sputtering suddenly to luminescent manifestation before disappearing just as quickly. Many of the compositions here are in fact more remniscient of the ambient side of Wolfgang Voigt's work in Gas, or perhaps the less beat driven aspects of "94 Diskont"-era Oval than what we've come to expect from what is ostensibly a 'guitar and electronics' based project. An almost kraut-like rhythm subtends the topography of "Composition Journal," the album's stunning opener, its low throb punctuated by brittle shocks from deconstructed drum machines over which Carlson weaves a spiralling lattice of bowed and picked notes. Later, on "Sleeping Birds," we're presented with a lulling idyll concocted by way of flute-like tones and languid note clusters, a shorter piece which dissolves seemlessly into modulating static at the onset of the pointillist microcosm that is "Spell of Resistance." The title track is without question the album's apex and constitutes a formal peak in Carlson's discography, as brilliant, bright guitar lines tread effortlessly in a sea of tranquil pulses and disembodied percussive elements.
