Well after the most beautifully emotional and captivating Hydroponic Garden there was no question that the follow up album would speak any less to the delicate nature of the human experience. How Daniel and Johannes create such sensual beauty in their compositions, I can't begin to understand, but I cease to be amazed at how their angelic melodies and deeply celestial textures can invoke such states of emotional memory and nostalgic wonder. After perhaps one of the most emotional ambient compositions ever created, "MOS 6581 (Album version)," my hopes were pretty high for "World of Sleepers." The mood is once again most appropriately set with Abiogenesis and Vortex, informing the listener to leave the egoic baggage behind as this journey will be an exploration of human essence. The deeply soothing and contemplative echoes of the choice samples "What about the forests?" and Set Theories' "Do you understand what I'm trying to tell you?" personify the human element well followed later by an appropriate grounding with the delicately heavy trip-hop beats developed through "Proton/Electron." The form again comfortably dissolves into the formless toward the end of the album and concludes with another emotional "bedtime story" with the hidden track following "Betula Pendula" as the nymphs lay you down to rest. Brilliant!
- Solomoon
Is it possible for each Fahrenheit Project to consistently out due the last one? It always takes a couple of listens to really absorb the slightly different direction that each Project explores through the evolution and marriage of structured beats and limitless space. Following Fahrenheit 5 in the spirit of a beautiful and compelling opening, this time by Scann-Tec, Project 6 continues with a surreal "galactic/astral ocean" experience (as my friend referred to it) by Irukandji that breaks free of any technological boundaries the listener may inadvertently impose. The dramatic turn by the always-anticipated H.U.V.A. Network is right on time followed by the most visual-inspiring "sunny-day" uplifting melody, by of course, Sync24. The following tracks continue to push the edge between the trance and ambient relationship with an irresistible urge to slip them into a trance set one fine, sunny afternoon. And Hol Baumann out does himself this time with perhaps his most intriguing and mysterious track yet (I have yet to meet someone who doesn't like this track). A welcomed, ethnic turn in the story and seamless conclusion to the Project. (And of course, it's impossible to not constantly rediscover the previous Projects as new favorites emerge).
There's not a lot that pleases me more than an artist (or label-group of artists) that can not only explore the many facets of the trance-ambient realm, but can do so with such impeccable conviction. Magnus' Extended album was greatly appreciated and now Daniel's Source seems to follow in the same spirit through the exploration of the formless with a fine attention to structure. The album is a slow guided meditation that dips into the mysterious with "Biota" and bursts into ecstatic realization with "White Pixels." How can you capture such emotion through a non-organic impersonal medium that feels no emotion? Though that question can clearly be argued as the symbiotic relationship between man and machine here alludes the realization of artificial intelligence. Kudos, Daniel, on a most enjoyable, well rounded journey into the mind and spirit.
Finally the long awaited album by Asura. Life2 is an excellent representation of the developing sound and the evolution that the vision of, and Asura have taken over the past many years. C. Farewell has successfully illustrated this story with many leaps in sophistication. Covering just about every aspect I'd like to hear on a comprehensive trance-ambient journey, he moves through the ethnic, tribal, mystical, mythical, blissful, playful, and transformational realms with seamless ease. From elements that inspire deep introspection and reflection, to those that insist movement of the body and beg to see daytime dance floors be it trance or trip-hop the cohesiveness of the elements shines through. As the newest release, it sees constant repeat plays, and undoubtedly converts new listeners. Only and unceasingly Ultimae seems to transcend and explore all aspects of the trance-ambient experience so successfully.
Finally, the 5th album from Magnus' Solar Fields project. First I must say that sampling the album prior to release did not do this work justice. The many layers, moods, and secrets of the Earth--shine only upon a full listen as a complete composition, beginning to end. Stepping fully into the realm of progressive trance, Magnus distinguishes himself by applying his ambient mastery with precise attention to complimentary layers, drifting melodies, and vast atmospheres that float above his strong, pulsing rhythms. Multiple occurrences of big, uplifting climaxes like "Black Arrow" dive in an out of extended, sustained daydreams like "Brainbow" for a well-rounded sunshine excursion through introspective bliss and collective celebration. Some tracks like "Spectral Nation" and "Cruise" hold that beautiful combination of wobbly bass lines and light-hearted melodies reminiscent of Matenda's classic "Energy Loader" album. This is sufficient proof that Solar Fields need not follow in the steps of every other progressive artist to offer a work well received in the movement of the body and mind. Without a doubt this album is made for the soft earthen dance floors that lie beneath a broad blue sky amongst a sea of smiles.
A sequel with multiple surprises, Winter Blooms is a strong representation of the broad range of sounds that Ultimae artists can float through effortlessly as the label continues to navigate new areas of organic sound-texture. How nice to see Mahiane's name included in the track listing this time around. Beginning with subtle observations of the sound of plants growing (picking up from the first album of this series), this one could be said to encompass an even wider range of nature's delicate lifeforms as this compilation was unexpectedly more dynamic than the first. The seamless progression from minimal states of ambience is, this time, not only cultivated by Mahiane, but even contains two of her well-placed interludes through this evolving, winter sound garden. Heavy rhythms seep in offering a balance to the soft blooms with Malik Trey's "Sleepy Shadow" giving way to Aes Dana's "Nexus" which I swear could be a beautiful parallel universe version of his "Kalaallit Nunaat" collaboration with Nova, off of Albedo.
"Thyrse" might depict a stroll through the snow alongside a fresh, snow-melt stream that trickles through the landscape bubbling into movement with Sgnal Fltr's highly welcomed and danceable addition. The well-composed journey slowly sifts back down through layers of pollen and icy sediment for a proper landing back onto the moist earth. Offering an audible reconnection to nature in the midst of winter, this is a very satisfying sequel. Looking forward to, perhaps, a full length track by Mahiane on the next one...
It was obvious that whatever Hol Baumann finally unleashed with his extremely long awaited debut album, that it would not disappoint. What wasn't known is exactly what to expect due to his relatively diverse range of previous single releases. What was hoped for was some form of continuation of ethnic influence and deeply strong trip hop beats. From track 1 on the album, Hol Baumann not only delivers effectively, but well beyond expectation. This release really becomes a journey that pushes into new territory surpassing a mere fusion of ambient and trip hop into a realm of elegant structure, and dramatically mysterious melodies. Hol Bauman's attention to breathing space and timing could be one of his greatest gifts. The album probably wouldn't have been complete without including "Radio Bombay," and offering a remix of "Benares" was a welcomed surprise. "One Step Beyond" certainly is, with a sexy mysteriousness that makes it, without a doubt, one of the album's highlights. With just the right touch of vocal accompaniment, instrumentation, plenty of space within the structure to move, and slamming kicks with driving basslines that disturb any resistant state of inertia, Human does a superb job of reminding you how wonderful it is to be one.
It is almost as though the Birth EP , which successfully sparked my curiosity, was a preview for the upcoming album as all three tracks reappear on The Core , though the album version of "New Time Nomads" explores a bit of a softer approach appropriate for The Core's overall cohesion. The album begins with a gentle fusion allowing nature's creatures to speak through the electronic landscape comforting you in the idea that you are not the first to take this inevitable journey within. The rhythms develop slowly and organically, providing just enough structure to keep you flowing in a forward direction with a progression that reassures you that the beats are not the story, they are merely the signposts guiding you. Layers of melodies and textures create an abstract language that leaves enough space for the translation to become an individualized reflection of the perceiver--seemingly the point. The sparsely and carefully placed vocals allude to the undeniable human element helping to ground this peaceful, introspective journey. This experience is not one of resistance, but one of complete surrender and tranquility as it leads you deep inside your being. The track titles nearly correspond to different levels of consciousness and awareness that are faced as you slip deeper toward the core. "Journey" adds a beautifully unexpected bit of mystery to the passage followed by the emotional vocals of Krister Linder and "Reflecting Impulses" represents the cognitive processing taking place as you finally reach the core now with the understanding that all is, in fact, "One."
Delicate beauty. "Where Edges Meet" implies, to me, the grey zone where two distinct characteristics integrate. Whether forms or the formless, this region is a place where texture meets color and an ecosystem of emotions bloom effortlessly and with intelligent precision. It's in this place that the essence of individual identities is accented while an opportunity to entangle with another reveals the true poetry of union. From start to finish this album is an interpretation of this delicate joining emphasizing the importance of horizons and blurred states. A sensual dance of opposites and the innate beauty of oneness. The use of live instruments as accents within intimate spaces is one of my favorite elements. Each track represents a chapter in the evolution from seed to fruit. This is without a doubt a soundtrack to the birth of a new day and the eroticism of innocence. I find that when I hit play at the first light of dawn while facing east, the rest unfolds perfectly.
A story about the universal constant - change. Magnus is a wizard at beginning with an implied static space and transforming it into the dramatic. This album continues to explore the spectrum of human emotions and the passion that is revealed when fully embracing the ability for expression. Magnus' trademark and skill in progressing from subtle moods to symphonic bursts while maintaining the spaciousness that surrounds the listener continues to become even more sophisticated. It seems to show up specifically in the balance between the heavy, masculine basslines and the beautiful, feminine melodies. This journey holds space for the experiencer to float amidst a supportive environment periodically exploding into moments of an irresistible entanglement with passion. There are moments where elation becomes overwhelming, the desire to feel intensifies into the only concern, and a necessity to surrender by completely merging with the flow satisfies the want for fulfillment.
As one of the most anticipated releases on Ultimae, it was interesting to see how this second, but not necessarily "sequel," album was received. This is clearly a journey with a narrower focus than the previous Distances album. Where Distances explored the dynamics of a broad range of environments, Ephemeris sees a series of relatively fixed coordinates within the cosmos. Immediately breaking into a pulsing rhythm at the onset of the album, this experience tells a more linear story as it proceeds to maintain a consistency of beat, literal or implied, nearly entirely throughout. The brilliance again emerges through the subtlety in shifts from ethereal, to mysterious, to uplifting. What unravels is a constellation of elements that find their niche through a careful mapping of complimentary pieces into a homogenous alignment. The signatures of Magnus and Vincent marry seamlessly once again through unimposing compositions that contain suggested moods, pronounced emotions, and a very comfortable interplay of electronic and acoustic. This album's secrets come by demanding repeated listenings and a willingness to fully absorb the underlying experience that meanders through the defined context of its structure.
This experience seems to be an interplay between micro and macrocosms. A contrast of ominous moods with the tactile nature of small spaces. The structure that arises throughout the album weaves in and out of loosely arranged environments that contain your experience without restricting your freedom of movement. At times you are clearly aware of your surroundings and at others merely dissolving into the ether. The organic and avant garde nature, undoubtedly reminiscent of FSOL, lends well to welcoming abrupt transitions into structure, seeming to almost remind you at times that you are in fact headed in a particular direction. It departs wisdom almost like an electronic fable representing the idea that all paths ultimately lead to the same place, but which one you choose is the determining factor in how the personal journey will unfold.
In some ways this album has the feel almost like a "Chronicles" album. From the perspective of Ultimae as a label, it holds the quality trademark of intelligent and atmospheric sound that unravels in the transitions from passive to active. From the standpoint of the evolution of the Ultimae sound and the label's accumulation of even more innovative artists, some of them seem appropriately represented, with the influence from those such as Hol Baumann and James Murray being undeniable. A couple tracks that show up later in the album even capture a nostalgic sound that, while marking particular points on a timeline, are proven invulnerable to aging. Vincent's way of creating percussively intriguing backdrops for extremely spacious, deep pads and melodies to hover above is one of the most captivating characteristics of his compositions. "Intelligent" would forever appropriately describe the Aes Dana sound from the glassy melodies that affirm the universe's vast complexity to the gripping transitions that provoke a personal movement within. A moment where all melts into the ethereal vocal of an angel, taking me with it, could not more effectively center me into the boundlessness of emotion within the human experience. It's amazing to think that this is, in fact, "Leylines 2.0" as the second go at creating this album. Feeling more than satisfied, I can't help but wonder, what is hidden in the ethereal record or network of leylines that contain the energetic dna of the first interpretation...
It always amazes me when a compilation comes out that is so cohesive. With such an emotionally dramatic opening track by Field Rotation, the certainty that you are about to move into the hidden realms of the self that may not get enough attention is undeniable. Just in time for Autumn, this compilation seems extremely, seasonally appropriate for cloudy days, falling leaves, and intimate reflections. It's a pleasure to see this list of artists all on one compilation, each bringing their own poetic reflection of seemingly somber emotions. Kevin Andrew's "Three Weeks" paints overcast skies and Rena Jones' comforting and warm contribution makes me yearn for a collaboration between her and James Murray. Offthesky and Murya continue to sustain the spacious, melancholic serenity before the seamless movement into rhythm brought on by Cell's smoothly evolving melodic piece. Aes Dana, again, creates a depth and character that is undeniably personal and absolutely boundless. Hol Baumann's signature sound and abstract melody makes me wish for another album, and Asura follows with an uplifting, sensual tale. "Times Are Good" is one of my favorite Solar Fields tracks and one I almost never wanted to hear remixed, as I thought it was perfect as is. This rendition, however, is an unexpected yet satisfying interpretation with a more rhythmic emphasis. James Murray flawlessly closes the door on this experience with his characteristic sensitivity and gentleness. Impossible to listen without becoming absorbed by the atmosphere, it's the corners of the psyche holding concealed emotions that this release taps into. Though an instant, seasonal favorite, this album has also become my current preferred soundtrack for dawn following in the spirit of Where Edges Meet.
Yet another long awaited album from Ultimae, I was clear this one would be quite different from his first, which to me is still a classic. With this album, Cell gives much more attention to the subtleties that arise through a movement of warm atmospheres and slowly evolving melodies. Something about distant voices always bring a sense of peacefulness and serenity, and it's the high, spacious, glassy melodies that have forever held my interest in the carefully articulated compositions of the intelligent ambient sound. There are undoubtedly moments that seem to hold the influence of Solar Fields, to moments of bodily-engaging trip-hop, and even Aes Dana's signature pulse in a seamless collaboration. In the midst of meandering structure, there are plenty of opportunities for drifting weightlessly in the floating formless. "Risky Nap Under Blue Tree" has found itself on repeat with a comfortable and effortless harmony, angelic accent melodies, and a soft bassline that grounds all the elements with a perfect groove. "Vapor" is a great example of the integration of fluttering electronic percussion with the softness of the human essence, though its genius might be in its ability to stir a deep emotion with the simplicity of its trailing melody. "Universal Sunrise" takes me back to the freefloating sounds of Higher Intelligence Agency and closes the album unfolding into a space of deep freedom that leaves you comforted, cradled, and well prepared for the hypnagogic state.
My ears feel a warm welcome back into those lands that CBL design and hold so well. It's easy to immediately settle into as the entry has a familiarity of that of being taken by the hand and assured that where you're going will undoubtedly provide deep nourishment. The pulse of "Right Where it Ends" is all consuming and reminds you that while you can explore your ability to remain in a state of motionless receptivity, you still have a body that breathes in rhythm with the universe. "Central Plain" is one of those tracks that could absolutely go on forever, and you'd never think nor care if there was anything else to life. "Supersede" returns you again to your body for a leisurely stroll through the wonder that we sometimes take for granted. From "Init" beyond, there's a clear movement into a more emotionally focused ambient, quite appropriate for the closing of a movie score, fully equipped with passages for reflection and emotional swells that support celebration. It's as if you've suddenly awaken in a sunny meadow at the end of a tumultuous fairytale only to be reassured that the princess is saved and good shall prevail. ; ) The emphasis, of course, being on the sunny meadow with a full spectrum of unique plant life that co-create the symphony. The princess appears in the beautiful Projekt Records-style vocal at the end of "Euphotic." (A track that will likely see it's way onto my second autumn themed ambient mix). The landing is, as usual, a soft and fulfilling resolution.
Being that Distances still stands as my favorite Ultimae release (sometimes you can't grow beyond the association you have with a pivotal ambient album) this Live set is a true blessing. A perfect reflection of the symbiosis between Magnus and Vince when united for the navigation of vast distances. The thread of continuity that ties this piece together is undoubtedly depth. It's the spaciousness that's held regardless of elaborate structure or minimal impressions. The experience is cast across waves that undulate into complex, rhythmic movements and then repeatedly dissolve back into soothing pulses. This album finds its strength in its ability to sustain a vastness while somehow embodying the intimacy of personal experience. The feeling of sitting by oneself while gazing at the stars. What's more is that the set kicks off with "Time Circles/Time Slide" which is one of the deeper tracks on the album, and one of my favorites. The brilliant reworkings and extended interludes keep mystery in the unfolding. This will definitely be one for "special occasions." From now on, when I want an ambient experience that unites the organic with the cosmic, while enjoying it out in nature beneath a star-filled sky, along with FSOL's Lifeforms I'll now be taking H.U.V.A.'s Live at Glastonbury Festival.
I've always enjoyed remixes, reworkings, paths, interpretations, and translations of original works. Of course Magnus can skate effortlessly between the realm of beats and atmospheres. What I really like about this album is it's ability to hint at a larger picture, but keep you in a state of suspension to float among the subtle undulations. Certainly successful on it's own, I think this album has the added benefit of familiarity with versions of it being released previously in another form. This engages the listener in a unique way by adding a layer of tension for what could be considered an implied movement, that doesn't actually fully manifest as in it's previous form. Instead, you're left in the mystery of a new translation that hints similar movements to the familiar, but holds you in a space of being. There's an aspect of the mind that wants the full unfolding that it knows so well, but is called to surrender into the fullness of what is, complete nonetheless. The album feels like an extension of what would be live interludes that precede the main form of the track. In this space there's an invitation for the mind to create an extension from the familiar tools provided, similar to how ambient heard in a hypnagogic state will unfold into sounds and textures that aren't even really there. From heartbeats to loosely intermingling textures, this is an appropriate soundtrack to those lazy afternoon naps.
When I first saw the cover for this album, I thought, "THIS is the image that was conjured in my mind when listening to Hybrid Leisureland's Scroll Slide!" To me this image perfectly represents the feel of that album. Of course, that's not to say it's inappropriate for this one. Charles has taken his ability to create moody, dramatic, and engaging music one step further. The opening piece, with exceptionally moving vocals, creates a beautiful start to the album that outlines broad boundaries in which the rest of the experience can reveal itself. It sets the stage as if stating this whole album is a ritual and you just entered the center of the circle. As you continue, spinning textures and flickering moods are all encompassed by large swells of movement and insatiable emotions. There is a ground for the sensual revealed through a spectrum of ethnic sounds and instrumentations, and a space for the cerebral where atmospheres encourage the broadening of possibility. The lineage and inspiration that Charles and Vince share comes out in subtle arpeggiated melodies and richly sculpted textures in "Altered State" and "Erase." "Erase" is likely my favorite track on this album because it seems to contain all of the elements of what Charles creates so effectively in one composition that's both complete and open to interpretation. "Longing for Silence" has a delicate beauty reminiscent of the sensual nature of James Murray, and the rest of "Chapter II" is a smooth and supportive balance of direction, progression, and space to allow the listener to move beyond the realms of the container that Charles so intentionally defines. Upon finishing this album, you're left with the sensation that the experience you just had is complete, not in the sense that it's over, but in the sense that every aspect of your being has been tended to and awakened so that you may move forth with a refined sense of richness.
This release presents a wonderful opportunity to reflect on some of the many albums and moods Magnus has been delivering in his wide range of productions over the years. It's amazing to think he's had so many releases already that it's time for an "archive" release featuring select compositions that never made it onto an album. Knowing how much ground he has covered, and my early, intimate relationship with Reflective Frequencies, I was eager to hear this timeline of undiscovered experiences. What I appreciate most about this album is the range of sounds that are explored including guitar, bass, sitar, and even vocals. Magnus has always had a skill for unfolding the microcosm into the macrocosm through his ability to take tactile moods and evolve them into vast spaces with dramatic emotional swells. Creating big spaces is something he does well, and while in some of his earlier compositions the spaces seemed less personal, nowadays they seem held together with an intensity of emotion. Moods span a range of ambient, experimental, cinematic, and even a hint of rock. Equipped with a bit of nostalgia, familiarity, and surprise, Solar Fields fans are sure to appreciate this one. And what a beautiful cover! All of Ultimae's album covers are beautifully tasteful and elegant, but this one is exceptional. It looks like all of the snowy magazine clippings that decorate our studio. ; )
Usually when I sit down for the virgin listen of an Aes Dana album, I allow my mind to clear so that it may dissolve into the expansiveness that seems to unfold throughout the journey. This time, however, the opening track "Anthrazit" goes for your heart rather than your mind. One quickly understands that the voluntary journeys back to Self cannot be without passage through the emotional canyons that define your very being. This album holds a consistency in subdued bass tones that nurture while sustaining a dynamic movement throughout the foundation. All the while the light textures of percussion, like snowflakes landing on your skin, are little reminders that you are 'right now' in the midst of the human experience, and in the depths of those canyons reveal the vibrancy of each accessible stream of sensation. These two polarities might be the perimeters creating the container for what happens in between. It is in the depths of that space where carefully sculpted sounds encourage the unfettered arising of emotions. The soothing and grounding bass keeps you rooted in being, the percussion aware of sensation, and in the middle lies all of the emotional translations that make you a permeable, experiential, presence. The title track Perimeters; an impeccable union of cinematic emotional builds, a plucking of the heartstrings representing the melancholic chords of attachment, and a movement that allows dance to reveal tears as the inseparable union of happiness and sadness. Filled with precisely sculpted textures and hints of what made deep Goa-trance so human, your mind becomes the vehicle through which the subtleties of the Self unfold. The incredibly dance-worthy reconstruction of Resin is a real surprise and an undeniable component of this journey. I'm still amazed at how much emotion can be conveyed through two notes on a violin. This album is a testament that within the realms of Self-discovery, there must necessarily be moments for reflection (stillness) and embrace (movement) within the totality of the merging of consciousness with emotion. Vincent, again, expresses his refined understanding of the necessary balance between darkness and light, mindfully leaving just enough space so that each may reveal the beauty of the other. Uniquely deep and melancholic, with the reminder that even the state of melancholy is another face of joy and a reason for celebration, this album is simply exceptional.