Hior Chronik - Out Of The Dust

If you're familiar with Arovane and Hior Chronik’s past two releases here on ASIP you probably noticed Hior’ Chronik's eye for the more instrumental and modern-classical sound, especially if you went back further to reference his album on Kitchen Label. Whilst it wasn’t always a straight split in responsibilities when pairing with Arovane, George proved to be the perfect balance for Uwe, often bringing melodies, compositions, field recordings and piano to both Into my own and In-between, alongside Uwe’s ear for electronics, texture and detail. (You’d actually be surprised as to who did what on certain tracks in many instances). 

Hior now presents us with a new release on 7K! (K7!’s modern classical imprint) that truly focuses on his passion for modern classical style compositions, titled Out Of The Dust. 

Whilst it would be easy to imagine what Hior would bring to the table on a modern-classical label based on his previous productions, the album is a new style and sound in many ways, brought to life as an imaginary soundtrack. 

The main thing you’ll notice is a focus on the trumpet as a lead instrument throughout the album. Without listening, you’re no doubt wondering how such an instrument will sound alongside slow tinkering pianos and abstract background noises, without becoming jarring. But Hior uses it as the lead character amongst a wider cast, extending introductions, interspersing drama and bringing subtle changes in melody that constantly evolve as piano melodies and dramatic strings intertwine. This brings an overall heightened sense of listening to the album - the tracks become movements and stories as you come into the imaginary world Hior has set out to create. 

There are chapters within the tracks, played out between the three main characters; the trumpet, piano and strings. Each of them have their moment as the album evolves, with a gentle piano piece appending a Johann Jóhannsson style quartet, and vice versa. Then an enigmatic trumpet solo setting the tone for a beautiful rolling piano melody. The trumpet, slowly dying out as the album begins to end, and the strings attach a more sombre note to a perhaps, sad ending to whatever film your imagining. 

These evolutions keep the story vivid, and the listener engaged throughout, eager to hear a new combination, or left wondering when another character would be re-introduced. 

Hior set out to create a soundtrack for an imaginary film, and because there are no images to accompany the album or a sign of the film he had in mind (surprising given Hior’s amazing talents with photography and the more personal touch to the artwork), the album leaves you pondering your own story and your own attachment to the characters amidst your own little world. The perfect escape. 

Available on 7K!.

Kompakt - Pop Ambient 2018

Given this is now a yearly tradition for me, I'm going to mix it up a little...

Firstly, a few thoughts on Kompakt's latest addition to its ambient series, Pop Ambient 2018.  Knowing where to start when these drop at the end of every year, let alone what to say is often a challenge, without having to review for review's-sake. Every year I comment on how the style continues to evolve ever-so-slightly compared to the Gas-infused loops and drones from the earlier editions of 2003.  But that's a good thing, as Kompakt are essentially documenting a particular evolution of ambient music year-after-year. It may be a limited scope considering all things ambient, but for those that listen to the details, it starts to mimic some subtleties that are represented out ion the music world. 

One noticeable change, is the proliferation of modern-classical music. There was no such-thing on the earlier editions (at-least without some kind of heavy manipulation) , but now the likes of Kenneth James Gibson makes regular appearances (his latest on this 2018 edition, is one of his finest yet) and the piano is the core focus for Leandro Fresco and Thore Pfeiffer on the compilation opening track. And while newcomer Yui Onedera's depth in Prism, is manipulated enough to make it a beautiful drone record, there's no hiding the strings that power the emotion behind it. 

But before you start thinking we've got a new Erased Tapes compilation on our hands (nothing wrong with that I may add), curator Wolfgang Voigt, still manages to nail the Pop Ambient sound by bringing some old friends back to level the playing-field. Triola's, L'Atalante is a straight zip-line back to Jorg Burger's early contributions and The Orb, go swamp-walking again with Sky's Falling, harkening back to their early Kompakt album, Okie Dokie It's The Orb On Kompakt, or 2005's classic Pop Ambient track, Falkenbruck. 

Just when you think you've got your head around the evolution of sounds found in the latest edition, pedal steel guitarist Chuck Johnson hits you with a wisp of country-vibe, and dusty roads, a-la KLF in Brahmi. 

2018's Pop Ambient edition bridges some of the many sounds that have evolved since its inception all those years ago, with echoes of classics and nods to the new. It's a mainstay yearly release for this very reason, and whilst it's likely never going to try and revolutionize ambient music as we know it and present something different, that's not the point. Pop Ambient captures a sound many of us have now grown up with. 

I see some people expecting something new and exciting every time this compilation comes out - something to write about maybe. It's the struggle I realize - how do you write about something new which sticks to the same great recipe and does it so well? Ambient music doesn't have something this consistent at this level - it's called 'Pop' Ambient for a reason, and I'm all good with it presenting a solid roster every year capturing the slowly evolving sound of the music we all love. 

Kompakt's Pop Ambient 2018, available to buy now.

~

Given the retrospect theme coming through, I thought I'd follow in the footsteps of a few of the Kompakt artists (Leandro Fresco's selections here) and select my all-time top-10 Pop Ambient tracks since the very first compilation in 2001. This is something that's extremely hard for me to do given my love for the series, and I'm already changing my mind... so I'm not going to make a fuss and write about them all. Ok, too many early tracks in here, I should change it. No... I'm just gonna hit 'publish' and leave this right here... enjoy! Listen on Spotify.

Also available on Apple Music.

Acronym - Malm

There's an uprising of deep techno coming from Scandinavia these past few years. Hypnus Records for example, responsible for bringing Luigi Tozzi, Feral and Fjader to the fore (more on them soon). Northern Electronics, helmed by Abdulla Rashim and churning out relentless, quick selling LP's by the likes of Varg, Dorisburg, Isorinne, and one of our favorites, Acronym. 

While Northern Electronics, or even Spain's Semantica have had the pleasure of Acronym in the past few years, it's the more established dutch label, Field Records that presents his latest album, Malm.  Known for his heady, deep and often abstract techno, Acronym found a new home for his ambient opus, with Field Records a well-known dutch destination for some of the best ambient and techno compilations of recent years. The output amongst the aforementioned labels contains some of my most treasured music, so to see their best artists switch things up on the label front is nothing but good news for us listeners, as long as the music finds a deserving home. 

Malm is Acronym's most emotive piece yet. The icy, vastness portrayed across the ten tracks takes you to a grainy, freezing landscape as depicted in the cover artwork. But it's not your usual long-paintbrush drones and crackling field recordings. Acronym has transported his heart and soul in the album's structure and melodies, with careful attention paid to the lush pads and flourishes of color, which make each track a piece unto its own. In a similar manner to the electronic wizardry of Biosphere, Acronym brings originality across the album very rarely replicating form or format across the ten tracks, electronic in sound yet deep in emotion. 

The glistening melting synthesizers on The Final Decision, juxtaposed with the heavy orchestral drones of Inner Conflict, and the slow acid-pulse of No Regrets, highlight the many outstanding styles you can find across the album, without a weak track amongst it. Malm manages to capture nearly every single element of electronic ambient music I love; be it the ability to transport to an off-world, the detailed textures that bring it life, the storytelling as the album evolves, or the melodies that make you hit repeat again and again. 

One of 2017's finest - don't miss it.

Available on Bandcamp. 

Eluvium - Shuffle Drones

Matthew Cooper aka Eluvium continues to innovate his approach to ambient music, albeit this time, not in style but in form. 

I commented on his last album, False Readings On as yet another new take on the sound we had him down for as the album slowly transgressed into a power-house of angelic vocals and heart-tugging drones. For his next masterpiece, Matthew has stripped the actual music down to a very simple, cinematic sound and embraced today's most annoying habit, the 'shuffle'; building each track so it fits in sequence no-matter what order the album is played. 

For someone who respects the sequencing of albums, especially when it comes to something as considered as ambient music, the concept presents an interesting juxtaposition - one I hadn't really considered before as an actual output for an album. 

In a similar approach to Brian Eno and Peter Chilvers generative app (and album) Reflection,  you're now presented with an endless possible combination of music. The difference here compared to Eno's album, is that Matthew has been very forthright in embracing today's listening patterns and pushing the Spotify/streaming versions to encourage shuffling (as opposed to locking it behind a very expensive app...) And whilst the output isn't as inconspicuous as Eno's liquid meditation - Shuffle Drones has a very distinct 32-second pattern - it's just as magical when you put it into practice as the slow and beautiful swells wash over you again and again. 

Available to buy on Bandcamp, and stream everywhere else - give it a go below. 

Listen to Eluvium's isolatedmix here celebrating his last album, False Readings On.

Synkro - Hand In Hand EP (Exclusive video)

We're big fans of Joe McBride's work here at ASIP. Over the years we've seen him avoid any genre stereotypes, venturing into cinematic downtempo as part of Kiyoko, and blending drum'n bass, ambient and dub-step with his debut album on the infamous Apollo, titled Changes in 2015.  Switching it up and drawing from a never-ending catalog of influences, it's of little surprise to see Synkro back with another superb release. 

Hand in Hand EP, reflects on some of his early influences from the 80's, particularly UK Library records, lifting samples and sounds from those records into completely transformed masterpieces using equipment such as his "trusted Juno-6 / SH101 / JX8P combo with the addition of drum samples via an old akai S2800".  The result is a far-cry from what you'd expect to come from such records.

EP opener Vanishing Point harkens back to the works of Boards of Canada, and a Hand In Hand synth line takes the same route as retro-analog manipulators like Com Truise. It's not until track 3, Automatic Response, that you hear more obvious 80's influences - a downtempo slow-jam with sparkling pads and Enigma style background vocals. Red Sky, takes things even deeper and a little more mysterious to round off a great EP.

We've got an exclusive new video for EP opener Vanishing Point below for your enjoyment - a morphing 3D affair from director MW. Here's what he had to say about his accompanying creation for the track:

"With ‘Vanishing Point’ I wanted to create abstract, textural feelings of depth and perspective. While experimenting with these ideas I also tried to play with the audience’s perception of scale, producing visuals which could be interpreted as either macro or micro. Beginning with a live feed of a rotating platter containing a mixture of oils, glitter, sequins and basically anything I could find at craft shops, I processed that feed through several video hardware devices with patched internal feedback loops. This was then fed into VDMX software, which introduced audio modulation and processing. The foreground texture was mapped to a sphere while performing image plane displacement to extend the bright areas inwards or outwards based on the audio input, while the background was produced with mirror effects. This was then recorded, and finally assembled in Premiere Pro". - MW.

Hand In Hand EP is available now on Apollo.