Monday, 27 May 2019

Chronos 'Israeli Connection 33' Review





Artist: Chronos



Title: Israeli Connection 33



Label: Cosmicleaf Records




Released: 22nd May 2019










The inspiration for this album began for Nick Klimenko (Chronos) at the chill out event Shiwaya Sound System in Tel Aviv. Not only collaborating with artists from across the world but implementing his and their voices and organic instruments to the recordings.


The album begins with ‘Sea Front In’ a classical style piece that I imagine is representing a seaside organ accompanied by a field recording in that environment. However, a music box is springing to mind in my case. This is followed by ‘One Chronology’ a collaboration with Shivanam where angelic synth voices meld with guitar slowly building to the inevitable drop. The overall feel is not a million miles away from some of the summery trance of the late 90’s, just slowed down a tad in places. Next up is ‘Cells In Harmony’ a collaboration with label mates Zero Cult, which begins in an aboriginal style accompanied by haunting synths which builds and drops into a more ambient passage employing the Japanese Nagoya Harp played by Nick himself.


Moving on with ‘Even Devil once an Angel (Part 2) which commences with a dark brooding almost industrial atmosphere and slow heavy bass juxtaposed with lighter harmonic synths. Next in line is the Nagoya remix of ‘Erbium’ which again follows a similar pattern with perhaps a more IDM atmosphere rather than industrial.


The pace moves up a notch on ‘Relict’ a collaboration with Okolosna, a more groove orientated psy piece with a chilled out oriental breakdown. The next two pieces maintain the more groove orientated approach with label mates Essence Project and Earth Connect. The Essence Project differs as the tail end re-explores the acoustic beach vibe encountered earlier in the album, While Earth Connect employs piano notes.


The album takes a more eastern approach on ‘Svara’ a collaboration with Yestegan Chay, who plays the Bulbul (a stringed instrument played on the lap, also known as the Indian banjo). This is followed by the ambient mix of ‘Cells in Harmony’ which takes a lighter approach with eerie synths, bubbling fx, eastern voices alongside the guitar. Finally, we finish on ‘Sea Front Out’ which maintains the same feel just splitting the field recording to come in after the music.


Reviewed by Woodzee

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Tuesday, 21 May 2019

Kick Bong 'Watch The Mirror E.P.' Review







Artist: Kick Bong



Title: Watch The Mirror E.P.



Label: Cosmicleaf Records



Released: 15th May 2019











The lastest E.P. from Parisian producer Franck Jousellin ‘Watch The Mirror’ is a further exploration of electronica that at times touches upon melodic techno and trance, but is always juxtaposed with more chilled atmospheres and a downtempo underbelly. Which over the last few years has become a sound he has continued to perfect.


First up is the title track which begins in a dark brooding manner with electronic beeps and a plodding kick drum in a techno fashion. The looping bleeps are joined by sweeping melodic synths that build somewhat and eventually drop, whilst the last section hits a bit harder and includes some dubbed out spoken word samples.


Next on the agenda is ‘The Sky Light’ which again begins in a melancholic brooding manner but with a touch more pace than it’s predecessor. The dark fx and bass notes are perfectly counterbalanced with the lighter melodic tones and I’m really sold with this track.


Last but not least is ‘I Love It’ and keeping in fashion to the rest of the E.P. it begins with dark growling synths and bass notes before the lighter melodic synths and loops are employed. For me this is reminiscent of early 90’s techno and as the track develops it only strengthens that feeling for me. Once again I’m sold or you could say ‘I Love It’.


Reviewed by Woodzee


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Wednesday, 8 May 2019

Pete Ardron & Psibindi 'Lilaya E.P.' Review







Artist: Pete Ardron & Psibindi



Title: Lilaya E.P.



Label: Altar Records



Released: 1st May 2019










Whilst Pete Ardron’s classical background adds to the uniqueness of his compositions, he has often drawn on eastern flavours and included live instrumentation and vocalists alongside the electronic sounds. He seems to have a knack at discovering suitably competent vocalists and it was evident from their first collaboration ‘Mera Dil’ on his ‘Unexpected Pleasures’ album that this was a pairing that deserved further exploration.


Until the aforementioned track I knew nothing about Psibindi (whose real name is Rena) and aside from these releases she’s still somewhat of an enigma. What I can say from the press release for those who wish to delve deeper is aside from being a classically trained Indian singer, she DJ’s on the Psytrance scene as Psibindi, is the founder of the Psy-Sisters collective and label and produces and releases music in that field.


This particular release is also little different from the progressive ambient or space music released by Altar Records which only goes to show they were impressed enough to add them to their catalogue.


Moving on to the E.P. it’s self, the opening track ‘First Light’ begins with bamboo flutes, digeridoo and gongs immediately delivering a spiritual feeling before the beat commences and the sitar takes over. There’s somewhat of a teasing suspense before the vocal drops but it’s well worth the wait as it’s a joy to hear amidst this lovely piece of ethic chill out. This is followed by ‘Rookah Surfar’ which drifts seamlessly between Indian flavoured dnb (which I’ve always felt is a heavenly match) and vocal chill out. I half expected the pace to pick up at the tail end of the piece but it doesn’t.


Next up is the Equinox re-mix of ‘Mera Dil’ which I found to be a more laid back take, obviously it still retains the beautiful vocal and is an interesting enough alternative. However, for me I still prefer the original. Moving on to ‘Time Stands Still’ where atmospheric synths are introduced alongside a xylophone intro, which is soon replaced by a more groovy percussion and the vocal is implemented before the bamboo flute takes centre stage in the instrumental breaks. The final track ‘Shokhee’ moves up the gears with a harsher looped synthetic intro and dnb percussion that is counterbalanced with the exquisite vocal harmonies and joined by rhythmic vocal talas.


Review by Woodzee


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