Friday, June 22, 2007
Thursday, June 21, 2007
I couldnt find an english review so this extremely bad Japanese translation will do:
1998 release. First of the vision of ROVO. 4 tune entering maxi single. Already, it can spread the sound like the outer space where even the essence of ROVO you can say bodily sensation. As for ROVO it understands well that already it is not anything person other than ROVO from first.
It spreads to everywhere, cotton 々 keeps being connected to everywhere, furthermore it transfigures, in order to twinkle, the shining and the shade it makes, becoming colored keeps. In order the person whom you hear to be fixed and being to touch the lump you are moved. So while having done, in some [ma] your own rhythm the language which is different completely from the mouth differing from always, appearing, you rival it becomes. But everything is hallucination, your own consciousness which remembers hallucination you are new gradually it keeps being buried. And steadily even the ground which should stand keeping sinking, it drags the air and the ground and is packed and it falls to the ultimate hallucination which is unified.
First we want experiencing. ROVO!! From Amazon Japan.
Wednesday, June 20, 2007
(no cover art available, can anyone help?)
Not too long ago, John Clyde-Evans made a huge splash with his phenomenal solo LP on England's Fisheye imprint. He also performed as an collaborator with the seminal UK group, Hood. After taking a seven year hiatus and committing to the path of Sikhism, he returned as Tirath Singh Nirmala. His continually unfolding backstory is interesting enough, but it's his music where the real magic and mystery stretch their silver wings.
Nirmala returned to making music after his close friend and collaborator, Vibracathedral Orchestra's Neil Campbell, gave him some free software and set him on his way. Nirmala responded with nearly a dozen self-released, highly limited CDRs. The releases were filled to the brim with Eastern-influenced, transcendental drones and uplifting spiritual sound explorations. His manipulation of sine waves and use of obscure Asian instruments creates a wholly original and unique sound. As on his solo LP as John Clyde-Evans, Nirmala's ability to concoct sprawling, majestic drones using such simple terms is unmatched. From Digitalis Industries.
FYI, John Clyde-Evans has a new, extremely limited tape available from Sloow Tapes as I type these words. Check it out.
Sunday, June 17, 2007
The two women behind Anahita should be familiar to those reading this. Tara Burke and Helena Espvall-Santoleri work seamlessly together here, both of their voices mixing and swelling in a loose field populated by cello, accordion, guitar (both forward and gleefully reversed), and other accents of warm noise. This kind of an album is just pure comfort for me. It conjures up a special mood that I simply want to stay in for as long as possible. It feels like the freshness of spring, or the meditative space of plants. At times, the whole thing seems to be breathing, which is a wonderful treat. The lo-fidelity sound of the album effectively makes "Arcana en Cantos" seem even more like a dug up artifact that we are fortunate to be hearing.
This disc is divided up into three tracks of slow-motion psych-dirge that somehow reminds me of a more raw Dead Can Dance. The central piece is the massively long second track, which is moved along by some lovely clean electric guitar playing and not much else. The minimalism and slow organic growth of this track left the biggest impact on me, as I hardly noticed the 35 minutes that apparently passed as it played.
This might not be the most mindblowing thing that either of these artists has done, and I know it won't surprise any Fursaxa fans. Nevertheless, I don't want to stop listening to this disc. Its strangely comforting and introspective atmosphere leaves me feeling refreshed over and over again. 9/10 Review from Digitalis Industries.