Captain Mustache - Tourbillon Nocturne (Ft. Dave Clarke and K-1) - Science Cult Records | The Electro Review
Tourbillon Nocturne (Ft. Dave Clarke and K-1)
Science Cult Records
TBR: 27th August
In such short time, Captain Mustache has matured from obscure fandoms of loosely knitted connoisseurs to big poster fame thanks to relentless hard work and the willingness to share his talent with other chief players. Blending indie, electro, and clash with some of the brightest sparks in the fusebox, this electrifying long-play double pink vinyl will go down a treat.
The music opens on a creepy bass driven lead that twangs with snapping snares and rattling hats. Melody rises in the bass-line as subtle shifts in tone reveal soulful aspects of the tempo. Electronic voice sounds then overlap the music. I Like to Program features K-1. Digitised poetry rambles and rhymes with ruminations on the pros of writing electronic music. Crafty synthesiser lines replace the phonics that swift and swerve like ghostly violins. Rhythmic attitude continues the slow burning and percussive surge through continual kinesis.
Reverberations of tom-tom and zapping rolls fluxate into rivers of hat strikes that bounce into wooden blocks. More robotic voice opens, less effect, deeper expression, and an epic drone accompanying, shifty grooves splatter with dapper spreads of droplet like percussion. Bass fills the void where silence remains and thumps us with long-distance telephone calls of feeling moved. The Mirror featuring Dave Clarke is a fast and lo-bit drive into awkward harmonies and phantasmagoric voice-overs.
It's followed by Super Shaver. A wholesome snare starts the show which signals the marching band bass and synth duo. Their whistling pulsations fly a flag for uplifting breezy adventure. Sliding doors peel to one side in mechanised movements and gestures. In they come, crowds of people pricking their ears like savanna beasts in a thunderstorm. Showers of high intensity rhythms bring on a glistening barrage of drifting and motionised expression.
Scrambled bass lays down a crazy-paving network of suggestive beats to the friction of a one-two bass snare combo. Astral sonics glide through the upper atmosphere in twinkling displays of magnetised and heated magic. Burst glares fill the ground with light and over-sense the floor as scampering shadows zip into cover. Confinement featuring dynArec throws layers of oscillator into a conveyor of dynamism as squashed verbs outlay the angular oddities that exist here.
The aptly titled Super Great Song hits us hard with a squidgy bass-riff and sudden drumming that rampages through the system. A wow siren surges outward in regular bursts of excitement as fluctuations of melody ripple and collide with the rapid beats. Melody from the 80s meets energetic moody rhythms that sit on fences between the light and the dark. A soundtrack to snooping and a dramatic atmosphere align to break the dance-floor.
A springy drum program opens an abstract corner of the present. We peel away the vibrancy and well-stuck paper and find soft and warm vibes glowing inside. A crunchy rustling continues as the compressed innards flush into their new surroundings. Then an electronic motor begins to whizz, throbbing with rhythmic bursts of power. Melodic additions craft neat lines along the top of La Vérité Des Songes, squirting the notes through various tonal effects to creates snakes of melody that sit tight although abstractly.
A bouncing groove splats on the table like dough being rolled into pizza. Snare and rubbery bass work hand-in-hand to deliver the impetus as multi-tonal synthesiser gradually builds to greet them. Harmonising delays bring a nuanced and folkish dynamic to the tune as happy melodies bobble on awaiting drums. A.B.R.I.L. Featuring Hiroki Esashika progresses wonderfully, growing in dancing applications as tuneful bursts of repeating digital bells lift the spirits.
A new character manifests as chocolatey bass drizzles on a flapjack of building beats. A subtle vocal lifts like Michael Jackson as raindrops of tune splish onto the red-hot surface. Drinking in the beats is a glowing river of synthesiser that guzzles the charm and lurches over for more. Healthy novelties sprinkle the mix as interesting sounds mix with stable favourites to greet each other in an electronic free-for-all. Sunset Caramel turns the whole sky ochre.
Fine Lame begins with a jittered snare-led rhythm. Sweepy synthesiser prizes open the chapel door and bass footsteps scamper into the room. Eager eyes peer through the crevices and senses ingest various tones that decorate the dusty air. Multi-tonal composition runs abstract shapes through the mastering device and manages to perfectly align the symphonic dimensions. Polyphonic and monogamous to the beat, a flowing and persistent electronic run—down through progressive rhythms and subtle key changes enlists the listener.
With a remix of I Like To Program offered up by Cignol, the penultimate number draws a triangle from the Captain to K-1 right back to this. It's followed by a straight edged instrumental version of The Mirror, just to get us in the mood for the beginning of the album again. It's a repeater and it knows it.
Discover more by visiting Science Cult online
Find Captain Mustache on Facebook
Find the album on Bandcamp
TBR: 6th August
UK electronic scene forerunners London Modular are full of surprises. This new record shows off the work of long-term legend Edd Butterworth under the guise of ED2D. Named after a piece of information law, creating something archetypal and templative surely comes easy to this artist. A fantastic run of 5 modular jungle cuts makes this latest offering something to be snapped up by music fans in the days to come. Released on the own-brand label Longhaul, this group of sound manipulation experts are showing us why listening to them is such a pleasure.
With jittery beats and wholesome rumbled sonics Poli Digi (In London) begins. Vocal samples frame a percussive element as rhythm instruments find their way through a maze of interpretive bars. A familiarly London accented voice tells us to get off the grass as thumping beats form staggering walls of intuitive and itch quenching drums. A progressive bass-line folds in, metallic and awkward, the tune edges towards a new frame of mind while chords resonate on high-end reverberations that jangle with solid cymbals.
Next, a smashing industrial rhythm pounds on the door and demands access. Of course, without question we let the music in and see what it can do. Sinister and chunky beats with melodious character create a surge of percussion that work to section drone like synthesiser tones which carry through the ordered cacophony. Hushed clatterings bounce from robotic bass utterings that whisper in seductive and gritty semblances. Rookie Delete Crash has unearthed something dark, its taking over decks and engaging deeply with club-goers.
Massive pad synths vibrate outward in warm and tuneful multi-sonic bursts. It's like spring as a shower of snare and hats brings a summery drenching to a progressive and rising tempo. The beats grab a piece of the action as a grinding bass squelches through the mud and undergrowth, churning the long-grass under the weight of thumping bass. Mellow grooves surf the coasting peak of flow as a grunting synth breathes heavily into waverings of melodious description. Broke Specific thunders us to the end of side A on a punchy and gut slapping fossicks into the gloom.
A tingle of bells and a vocal sample brings out the feel of side two. A child's perception of the world mingles with rummaging tempo and wooden block percussion. We listen as the boy talks about running away from home, and getting into mischief. Mobile Patrol Coupe explores a thrust of rhythms that sally into runs of lingering synthesiser and chattering youth. Spectral and mystical synthesiser ripples over tall and stretching rhythms clouded with a variety of tones.
We end up in the Bonus Jungle. Hushed wind tones rustle through reeds and sunlight as percussive pottery begins to resonate with the dawn. A tumbling snare rolls in on inflections of style as the rattling tempo carries a presence forward to greet the day. The mix of percussion melts into swaying synthesiser that sponge-soaks the vibrancy into ink-bots of crawling sound. Persistent and evolutionary riffs rise and stagger like many legs on an uneven trail. The music swells, gaps in the drumming decrease and the pressure builds for a driving moment.
Longhaul Records are on Bandcamp
We Continue Part 1
Cultivated Electronics Records
Out: 19th July
This Cultivated Electronics debut for Manchester's Kerrie sees the sound technician produce a run of four smashing originals that mix up dizzying electro, deep-reaching bass-lines, and thrilling acid tones. Originally from Ireland, and now working in the UK, Kerrie has become an established figure on the local and international DJ circuit. With a host of shows behind her, including in New York and Berlin, it's a rare treat for this artist to get enough time to make fresh tracks in between shows. If that's not enough, Kerrie also started DMF Records, which have big plans lined up for the future.
The music begins with Heptapod K. It hits us straight away with a huge twangy bass and rhythm propped up by snare, kick, lots of effects. Cymbals rise with their friend, keyboards, to bring out a massive chunky groove that's simple to dance to yet cleverly sprinkled with salt and pepperings of percussion. Layers of rhythmic tone rumble and shake through the neat compressions and lattices of flow.
Next, a deeper and darker synth bass crawls out from the shadows. It stands up, snare greets it with a hard and snappy fire. The rhythm chokes, new synthesiser begins to garble something quietly as the bass keeps rising with power. A full-on rhythm thrusts itself into our space defined by huge bass and industrial drums. Droid Nation works like a machine and holds a magic quality of drama that can be likened to human colonies.
A strange spectral synth joins a jilted snare rhythm as bass and kick thunder through. Digital plucks form a bubbly edge that simmers on the heat of intense background sounds. The synthesisers increase in strangeness and glistening of dripping wet sound shimmer and shake on naked trees. The atmosphere thickens, a buzzing melody rampages into the soft middle like a chainsaw. Swarm fills the air with vibration and energy as a bludgeoning intensity brings out alien and odd dimensions to a choppy rhythm.
Vibrant bass with a metallic sheen breaks over hard and carefree beats that crack the glass with each pounding strike. New layers of self-similar tone roll forward, the pitch is reduced which leaves an opening for a new thread of high end interjection. Velocity holds back as thundering beats repeat over the flattened ground tampered by the marching feet of generations. They Can't Stop Us is a relentless surge through thick and restricting surroundings with strong and powerful treads.
You can catch up with Kerrie on Soundcloud
Also dig into Cultivated Electronics on Soundcloud
TBR: 13th August
A year since the previous offering from Manchester's Sarmism on Glasgow's Bricolage label, the lockdown has ended and we're free to roam and visit once more. This latest album sheds the restraints of yesterday and adapts to the wide world once again. Designed to be a soundtrack to escapism, a score to freedom, and an exploration of modular sonics, this eclectic and prolific label once more retains its crown thanks to this new Sarmism album.
It begins with Elixir. An enchanting massage of sound wafts from the speakers as it gathers sonic detritus and flyers on the way. Soon a torrent of fluttering tones list into the hillside and snake through the trees. Amplitude rises on the synthesiser tones that sparkle and shift like fluid sunlight. Then, a bass hammers in with deep and meaningful strides. The long-distance holds on the notes bring a sense of dub-step without the aggro as heavenly arpeggios drift and fly through the cracks in the ceiling.
A gust of air and a change of scene brings an ethereal and fixated gaze inward. Voice samples roll over pebbles of distortion as drums punch and pound with melodious percussion. Synthesiser breaks the eggshell and throws down a smothering of bass which soon takes hold into the piece. New sounds swerve and decorate the rhythmic pace while whistles and strings reach into the abyss. New bass floats down and grafts itself in, mechanical edges now revolve and pinch as the groove is exhaled gently. Oroshi is sudden and invoking as the music changes gear into new dimensions.
Ever been to a Silent Disco? That's the next title and it begins with effervescent synthesiser that builds with gradual ballast. Stability rises through spectral openings and dream-like formations of tone. Harmonies push the feelings of expansive surroundings into new avenues of thought. The culmination of repeating phrase and organic melody paints a delicious picture of winding intentions and symbiosis.
Piano and string follow with dreamy trip-hop inspired grooves. Vocals chant lo-bit vibes as rhythm and bell tinkers with an orchestral pulse. Drums smash through like a presenter walking on stage. The music erupts with vibe and light as the rhythm surges into the missing space. Dramatised and cinematic melody hangs like clouds in low valley skies as a snaking bass starts to explore the contoured terrain. Melody encapsulates Dunes (Reds) with an other-worldly majesty that tingles with snippets of intuition that flicker in the ruminations.
Huge synthesiser horn and wind tones tremble and quaver in the sudden purpose of being as Trig Points begins. Sunken drums begin to tumble down staircases of sonic semblance. Distinctive additions form pockets of sound in the matrix of repeating chime and drum. A gradual progression sees the drums mutate into a glitched and electronically inventive simmer. A broth of percussion bounces on the sizzling oil as it's spoon-fed into the pan.
Vibrant metallic bass reaches out into darkness with hopeful fingers, willing there to be something to hold onto. Drums pounce like nerve endings that shatter the fright with realisation of substance. Twangy motifs resonate on wood and wet stone as steady progress sees the approach of luminous skies. A persistent and metered delve through mysterious sounds and oddly harmonious reflections takes us to Elysium.
An enchanting and illusion invoking mirage of tones rise from vaporous beginnings. Keys strike apt tones as creaking wet wood rumbles within. Day is breaking, scattered blips begin to shine down on the forlorn landscape described with lush and evocative sounds. Bass and drum then thump through as the main element of the track blooms. Waverings of synthesiser streak across the sky and thundering surges of energy rattle through the temporary haze.
With glistening surfaces and warm radiance a melody grows gracefully through a boundary. Lost in its own imagination the tune reveals a passionate envelope of humdrum and what-ifs that marble through self-awareness. Affirm is a short number yet carries us through perfectly.
Next, a river of sound gushes from the open valve and covers the scene in warm crystal layers. Bubbles of bass begin to burst, releasing their buoyant sounds as they go. The flow settles to tranquillity and synthesiser describes the smooth and static surfaces submerged with gently moving water. Codename WL throws ambience to the fan and lets hyperactive mental function make a meal of the shapes and textures offered.
Vocal and plucked string begin the next number. More ruminations evaporate into the ether as new thoughts replace them and build on their foundations. A rumble of drums with a dirty edge scuffs the shiny shoe before taking a cool swagger through the arcade. Avatar is another choppy number, it changes and shifts like a rolling dice with different faces. The basic design is the same, however, and familiar patterns continue to reveal themselves in numerous costumes.
Completing this astonishing journey with Heroes, a distance reveals distorted choruses and heavenly songs that draw us to the light. Like a moth we're drawn to the next world that leaps at us over bar and composer led burst of emphasis. A mix of sounds join in harmonious chaos which ripples with tingling freedom and a gut-instinct for appropriateness.
Find out more about Bricolage Records and artists like Sarmism online
When it's out the album will be on Bandcamp
Find Sarmism on Soundcloud
Life Time EP
TBR: 16th August
Iranian-American culture meets electronic music as Kamran Sadeghi returns under the familiar EMIT. Having just returned from promoting his Loss Less visual audio experience at the Musée de Louvre’s virtual event and the Fridman Gallery in New York City, EMIT once again arranged and crafted exquisite sound sculptures for us to explore. This new project does not disappoint, four beautifully produced experiences are hitting streaming sites and airwaves in just a few weeks. EMIT had the vision of reinventing nuance in communication, something we feel passionately about too. By giving us a product that requires deep empathic connection through music, it's bound to pop some corks.
The first track is Lonely Owns Me. It grinds into our presence on mysterious mechanics that ripple into rhythm. Extra synthesiser patterns stroke colours through the tapestry and bring segments to life. Gradual progress lifts the tempo on stilts of sunny radiance and evocative sonics. Layers of drum meet each other in dreamy conjunctions as twists of silken thread pin the waves to unique angles.
A quick splashy rhythm takes hold. Deep bass and raindrop like percussion rattle with snare and cymbal in tow. A frantic barrage of adjusted and neatly aligned beats spiral into the air as Data Love begins. A cut brings deep and resonant sounds that ride on a wave of mechanical industry that pounds in pulsations of kinetic energy. Rhythmic and non-melodious, the combination of unique and interesting beats flow in spacial unity as layers work to lift and breath life into the piece. A synthesiser rises with scale repeats that suddenly brings tune to the dance.
Quick runs of plucked notes span outwards in a funnel of sonic sparks. Strange and warped drums then collide with the layer, overpowering many of the notes with energetic and loud crashes and zaps. The mix balances out as bass penetrates with equalising power before the music expands into a mix of frantic rhythm and melodics. Wake Transition builds with gradual clarity, from excited and minimal introductions to spectral and multi-dimensional facias of music.
The final number begins with chimes like a church ringing in the morning. Peeling tones roll down a major scale as ethereal glitches scatter subtle focus behind. Effects and loops begin to repeat and overlay the tones while digital fills add spongy intrigue through tone and nostalgia. A harmony builds on the repeating synthetic bells that hum like violins. Layer upon layer rises in packages that form a growing sonic pressure. Inverse Theme pushes the feeling to its pinnacle with bursts of static and delicately positioned abstract compositions.
You can find the music on Bandcamp
Everyday Diamonds EP
Insult To Injury Records
TBR: 30th July
This reputable branch of the Ransom Note Records tree, backed up by Timothy Clerkin, is ready to release the next YOKOCHO record. The Insult To Injury roster is growing month by month, demonstrating the best in lo-fi and nostalgic cuts. This latest number is produced by Antwerp based YOKOCHO who aptly wears the New Beat crown with more style than most.
Synthesiser and samples open in euphoric phrases of melody and drum. Uplifting tunes merge with dreamy drum-fills and a slow meander of progression unravels. Bass hits at the right moment as the drums rise in power. The synthesiser chords bring out a bedrock for whistle and chimed melody. Landscapes of backdrop run past in the flow of the rhythm and new elements of music present as lodestars in the journey. Everyday Diamonds lifts up the emotions and fuels a passion for movement that suits the club.
Data follows, and it's got a more sinister introduction. Choppy bass oscillates and peers through intense beats. Forms of scale jostle into place through the fulcrum of rhythm created by snare, bass, and snappy hats. Synthesiser rolls by with twinkling and distant melodics that serve to lift the energy through ambient shadows. Industrial beats and a powerful mysterious atmosphere shift through subtle dimensions of theatrical delivery.
Deep tribal style drums bash out with tom-toms and bells as a twanged bass begins to pluck a steady progression. The moving melodies repeat in short circular movements and extra synthesiser fills it out. A bass-line plunges in like a diver which splashes into the river of sound. New manoeuvres lift the flow into a new level as choppy and rhythmic bass tones smash down on the drum. Sonic effects glisten and swirl like wisps on hilltop lookouts as the chunky and sudden impulse of bass continues to pounce. Other Side Of The Mirror breaks into spectral melody and warped sounds as a tasty surprise in between the throbbing bass.
Next is See You There. It beings quietly, and a graceful current of swirling flow rises with birdsong and ethereal tones. A smooth sensation of gladness dreams with clarity and abstract intention as the tones lift and grow like greenhouse tomatoes. The glistening sonics merge with subtle distortions that fold the music into tiny concertinas that ripple and glide through the imaginary sounds. The EP finishes with a remix of its title number, Everyday Diamonds, by Timothy Clerkin. It brings the heavenly atmosphere to a new dimension with frantic drumming and throbbing party bass. A drum and bass tonic is thrown down the hatch and the music easily adapts to the new direction. Fast and uplifting rhythms mingle with evocative and dramatised dynamic compositions.
Get into YOKOCHO on Facebook
Insult To Injury Records are on Soundcloud
SCDD Hazmat Team
Steel City Dance Discs
Newcastle, Australian style, and the fantastic crew at Steel City Dance Discs are ready with their latest escapade. This EP features the team under a familiar moniker and two fresh cuts of exquisitely defined electro house fusion. Being the flagship group for a whole platform of talent stretching back for years, the Hazmat Team are preparing a host of brilliant shows in the UK for our enjoyment. Dates at the end of the review! Already a regular feature on Rinse FM, the SCDD Hazmat Team are no strangers to melding beats and sounds while the world pays attention.
Huge rhythmic bass and kick drum open the first instalment, Hume Highway Hakke. A heavy tempo beats a path through the undergrowth as massive steps run along the way. Vocal inflections raise the rhythm on the bar as cymbals are added to fill even more space. Pulsations of groove splash into the room as the bass thunders into neat portions. Gradual progressiveness sneaks through until a keyboard layer overpowers the delicate notions with a frantic and loud melody line. New drums and thumping bass join the curve as a dancing magic rains down from all directions.
The second track unpacks yet another heavy bass-line. This one has a kick break on the end of each bar that becomes the gravity point for other layers. Oscillating synthesiser and a mash of cymbals carry the energy through piercing and foot-stamping bass. The kick keeps all together, as multiple layers of frantic kinetic enchantment pound at the walls and the ceiling with vibrant and punchy impetus. Lost In Tha Cross shifts across various synth motifs and melodies as the rampaging rhythm persistently smashes a dancing sensation into the swirling centre.
You can find SCDD Hazmat Team on Spotify
and Apple Music
Find Steel City Dance Discs on Bandcamp
and visit online: https://www.steelcitydancediscs.com/
July 24th - XOYO - S.C.D.D. Hazmat Team + DJ Boring
September 24th - Village Underground - S.C.D.D. Hazmat Team + KETTAMA
Oct 23 - The Mill, Birmingham - S.C.D.D. Hazmat Team + Yazzus + Mall Grab
Oct 29 & Oct 30 - World HQ, Newcastle - S.C.D.D. Hazmat Team + Mall Grab + Ape-X
Oct 31 - Rock City, Nottingham - S.C.D.D. Hazmat Team + Yazzus + Mall Grab
Nov 13 - Patterns, Brighton - S.C.D.D. Hazmat Team + Mall Grab
Nov 23 - Foundry, Sheffield - S.C.D.D. Hazmat Team + Yazzus + Mall Grab
Lil Mz 313
Data Bass Records
TBR: 16th July
Ghettotech royalty and creator of music used in Starz on Power TV, Lil Mz 313 releases fresh remixes and originals on this new record. This EP marks the beginning of the next chapter for this artist. We know she's going the whole journey and it's a great send off if we've ever heard one. Based in Detroit and fortified with the sounds of Miami Bass, it was when she met DJ Godfather that connections were made. A record soon emerged that was made in collaboration with Will Simpson aka DJ Omega. She's also produced music with DJ Rashad, who sadly succumbed to drugs in 2014. Part of Lil Mz will surely be flying a flag for this great name in the years to come.
The first track is called Porno Sex. It begins with a quick short arpeggio loop that takes us up and down. A snapping rhythm with claps and snare works with a throbbing bass. The synth fades and Lil Mz begins her vocals. Rhymes almost rapped verses cast conjure over the flow. Melody rises in fast and choppy bursts as breaking drum riffs rise with the tide. Retro sounds and modern rhythm choices work with cut and dubbed loops and layers that surf the deep and multi-textured ocean. The second number is the instrumental version. The rhythms and selections are laid bare for us to explore. We love the sound of her vocals, but I guess there are times when Porno Sex isn't something you want on loudspeaker. This track gives us something clean to enjoy when the family is round.
A scattering of various beats unfurls for Fuck Me With His Eyes. A bass begins to throb as quick lyrics merge with snare and hat. Be warned, this track has some explicit lyrics. Lots of groove layers in as repeating beats and drum fills ramp up the energy with continual variation. The lyrics repeat as a poem with emotional and dramatic content. The continual use of inventive drums with evocative rhythms brings out a true sense of spontaneity.
This fiery and audacious EP ends on the remix of Super Swag. The famous tune from the silver screen is reinvented as a choppy and disco fused entry. Upbeat and catchy beats smash out the groove as lyrics continue the ghetto diva frontage. We need to pay attention to this one, she's got nerve, talent, and class. This makes a lethal combination.
You can listen to Lil Mz 313 on Spotify
Follow Lil Mz 313 on Instagram
Lunar Orbit Rendezvous
Ransom Note Records
TBR: 16th July
What once was LOR is now Lunar Orbit Rendezvous as Belfast based electro-smith Gregory Ferguson joins the Ransom Note party. This new LP of textured and ambient sonic exploration provides an atmospheric and cinematic backdrop to the mental adventures that arrive during relaxation. These ten tracks of dynamic and layered soundscapes reveal an oceanic sky of eternal wanderings and flight.
The first track is A Dawn. It grows on wholesome and full-bodied tones that rumble and rise in graceful motions. New tones dance and twinkle from the reflectivity like moonlight in moving deep water. As the dawn breaks, textures and shade grow and move as the illumination gradually falls into place. Next, a string ensemble breaks the silence with tuning and resonance checks, a deep and primordial energy breathes in the background. This rises into human choral tones that harmonise with the subtle melodics of Music For Spaceports. Powerful progression rises through the effortless manoeuvres as orchestral builds push through the layers.
Surges of sound ride in on tidal forces as plunges of bass tone lift and invigorate the flow. Sonic clarity holds its shape in gusty areas forlorn and touched by brief eternity. Wave Ruins sing with ancient imagination and call out to unified architecture throughout the cosmic landscape. Rushes of power and pained persistence continue into the night. On wisps of ghostly congealment the next mix shimmers into the system. A relaxing movement of pretty cords mirage into the air. Then, huge chunky synths begin to follow a simple transition of melody. Novel harmonies reflect the perspectives of tone through mirrors of journeying sound. Faith/Reason builds and grows on sunlit skies that clasp all that they hold with planetary pressures.
Watch out, it's Trouble In The Neighbourhood. This creepy title has a matching intro as spectral and ghostly atmospheres curdle into tangible holds. Tonal harmony whispers and breathes with various pressures and forms. A meandering flux of intertwining sensations river together in twisting and layered imaginaria. Next, a smooth and delicate waveform resonates into reason as brief percussive strikes frame the trajectory. Lowered eyes look forward as ribbons of charm and magic flutter through abstract patterns. Aspen Trees holds its shape through season and storm like the tree-lines that frame our home perspectives.
Luminous tones shake and shimmer through abstractive layers. A shrill and strong ray of power forms a sonic spire across the vast open space. Lights shine from the towering presence in patterns of communicative dance. Ethereal manifestations of energy soar and coalesce as Dead Experiment. Last Program Run follows, it begins quietly. A gripping run of vinyl and mechanical noises open the drama as runs of bell chime and harp echo through the corridors of dream. Gradual energy builds with synthesiser harmonies that quiver in resonant bursts. Laid-back rhythm drives forward an engineered progression through ruminative suggestions.
A transitional piece fills the penultimate position in the production. Spirals or repeating tones mirror in organic spectra briefly for This Willow. Next, euphoric and heavenly tones radiate through thick warmth and atmosphere. Gentle yet strong tones plunge their voices in with a soulful melodic phrase. High levels of reverberation sink into thickness and form as harmony caresses the joins and rhythmic nature of the music. Karesuando completes the album with grace and a composition of enchantments.
Get involved with Lunar Orbit Rendezvous on Instagram
Out: 19th June
France talent Univers III presents Octogone. MicHell has been instrumental in projects such as Les Fragments de la Nuit, Revok, and Lolito. This new solo work explores a deep and dark sense of atmosphere in which no god or master is respected. Matching the natural frequencies found to be coming from the constellation of Orion, this album defines a passage between the earth and sky. With an album cover designed by Uruguay's Alexandro Nelson Garcia, this astonishing work is set to escape velocity.
A sleek and polysonic tone grows out and up like a huge pipe-organ musing on lost memories. Dismembered curdles with deep resonance and thoughtful drones which mutually hold each other tight as the dreary mood manifests. Quicker arpeggio like motifs then spring from the undergrowth which penetrate with an edgy direction. Waves of strange amplitude join in the middle of the sky as spectral illumination manifests as sound and sweeping searchlights that peer across the land like giant vibratory eyes. Octogone sinks us deep into a state of hypnotic relaxation with the shadows slowly gathering around us.
Particules follows. This features work by Steph G. A silken rise of twinkling tones sparkle in the darkness as a build of piano summons deep and powerful forces. A woodwind calls out through the shaded landscapes with a message of awaiting wonderment. As the composition expands and progresses, subtle energy is used to elevate steps in the story. Next, a humming ambience rises from the nothingness. As it grows, a piercing sense of energy grasps the note and holds it in place. New sonics rumble and manifest within and beyond as suction and flow create rivers of frequency that split into various harmonies. Black Hole is fuelled by abstract and broken synthesiser tones that twirl and sink.
Rounded and shrill tones roll like vibrating cymbals covered in webs and dust. Piano strikes a solitary melody through the haze while awkward and sinister harmonies rise through the film of opaque sound. Where I Landed looks around and absorbs the devastating emptiness that expands in all directions. Organic musings form over digital in a minute tapestry of imaginary sounds. N= -1 perhaps, or maybe it's just the convex nature of existence. Whatever happens in the fundamental realms, the results on the outside are a continually shifting and changing amalgamation of inspiration. Micro Elements builds with orchestral and composed clarity as various tones and sound-effects build a fantastic picture.
Huge and deep piano notes cast devastating magic across the stave. A higher tone begins to pulse in an odd scale which shifts and bends as extra sounds disperse from the body. A distorted guitar plays harmonics into a fizzing cacophony as choral voices rise like hot fog from the night—time tarmac. Somewhere Between Nowhere and Goodbye jostles for space in tight places. It continues with After Moon. Haunting piano splashes over the silence in subtle melodious progression. Minor keys merge with a flow of motion as the composition breaks into outcrops and roots.
Church Of The Latter Day Synths is next. It waltzes into our ears on a slow moving tempo. Harpsichord like notes breeze and blow as if played over pipes, a combination of sounds meet and divulge with each other before dispersing into various room positions. Slow and meaningful melodies work with strange dream-like swirls and gusts that invigorate the flow of feelings. Target is after. A fast and upbeat keyboard melody pulses with rhythmic velocity. Digital beats pulse and strike notes on aspects of progress while stop-start bass rumbles and roils with a degree of intense destination. An updraught of melody begins to cover the pieces with blankets of kinetic sound.
Next is Lost Episode. Cinematic scores of piano strike characterful melodies across a harmony of minor strings which quaver in the tension. Strange and shadow-lined notes step up into amplitude as the next number begins. Progressive steps climb upward as harmonies and chorded melodies chant in repeating lines. The build-up reaches new heights as extra synths cusp the sky with streaks of sound. Exit takes us up and away as drumming punches in the time-code and powers everything up.
Follow Univers III on Soundcloud
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