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EUS - Sol Levit
Time: CD (54:07)
Rating : 7
Dopo aver ristampato lo scorso anno il debut del progetto del costaricano Jose Acuña, la danese Avalanche si occupa ora della ripubblicazione di un altro titolo del catalogo di EUS, ossia del quarto album - al netto di quelli in collaborazione con altri act - "Sol Levit", autoprodotto dieci anni fa in digitale ed in una limitatissima tiratura di soli 25 esemplari in CDr, in confezione artigianale e con una traccia bonus (purtroppo non inclusa nella nuova edizione). L'etichetta tiene a sottolineare come, in questo suo decennale, l'album superi la prova del tempo, ed in effetti, guardando a quella che è la scena dark/drone ambient attuale, "Sol Levit" fa ancor oggi una buona impressione in tale nebuloso panorama. Ancor più che agli esordi, la dark ambient dall'indole dronica di Jose si tinge di colorazioni sinfoniche, non soltanto mimate ad arte dai synth, ma anche estrapolate sotto forma di loop dalle composizioni di Alcides Prado Quesada, compositore degli anni '20 e bisnonno dello stesso Acuña (questi autorizzato poi dalla nonna all'utilizzo). Su una base sempre ruvida (come la resa audio in sé), che solca ambientazioni cariche di detriti industriali, si stagliano dilatazioni droniche intense e foriere di grande tensione, in un lungo viaggio che abbraccia più soluzioni e sensazioni senza mai perdere il filo conduttore, dalle spettrali movenze dell'opener "Convenza" alle cascate droniche della conclusiva "Siete". Un lavoro che, a distanza di dieci anni, conserva intatto il suo fascino originario, risultando oggi come allora più che appetibile per ogni sincero esploratore delle derive dronico/sinfoniche della dark ambient, due scuole che ben si compenetrano nel suono di EUS. Solo 50 le copie prodotte nell'elegante formato digifile.
Roberto Alessandro Filippozzi
30-11-2023
http://www.darkroom-magazine.it/ita/104/Recensione.php?r=5031
EUS - Sol Levit
The recommendation to hear this with headphones is, as usual, something I skipped. I can't wear them for long stretches of time. Behind EUS is Jose Acuña from Costa Rica, and I reviewed his 'Vhinto No Dresce' in Vital Weekly 1339. That was a re-issue from a CDR from 2011, and now I receive 'Sol Levit', a re-issue of a 2013 CDR release. But, so we are promised, the remastering made the music warmer. For the previous release, I thought EUS played guitars and effects, but I am less sure about the instruments he uses. Electronics are undoubtedly part of this, I am sure of that, but guitars, I am less confident of. Maybe it's more synthesizers and processing of instruments. Mentioned are loops of orchestral music, which were made by Acuna's great-grandfather, who was "an influential composer" in the 1920s, and Acuna's grandmother was permitted to use these. Not in all pieces, but there indeed is an orchestral feeling in the music, combined with hiss and reverb, making it sound a bit like The Caretaker, certainly in 'Emori II'. But, as said, not in all pieces, as some of these are more generic dark atmospheric pieces of music. Generic should not be understood as a negative qualification, as what EUS does may not be the most original (but, then, who is?) in what is already an overcrowded field of musicians playing the atmospheric card, but he does a very solid job here, delivering the goods as promised. The result is quite a varied album, as in each track he creates an atmosphere that is both the same and different from the other pieces. Nice one. (FdW)
week 45, 2023
Asianova - ...Burns Alive!
Genre/Influences: Dark-Ambient, Cinematic.
Format: Digital, CD.
Background/Info: Asianova was an American project mainly active during the 90s. Nothing of the band was released until they moved on with separate projects. Live performances were released and this album was directly recorded from the mixing desk during a gig in 2007 and released as CDR one year after on Discorporeality Recordings. “…Burns Alive” now got a proper and more professional CD-reissue featuring eight songs.
Content: You can’t get away from the pure Dark-Ambient composition which is elaborated and featuring diverse real instruments -like flutes and guitar, next to an impressive arsenal of electronic noises and arrangements. Ghost, whispering, vocals are empowering the freaky sensation of some passages. Both last cuts are live improvisations.
+ + + : Even if this album is a re-issue of a long-time released work from a band who’s no longer active, it clearly appears to be an essential work revealing a talented, Dark-Ambient project. They were dealing with a very personal approach and especially the use of flutes create a mysterious and cold feeling. But it also has something authentic which reminds me of Dark-Ambient/Experimental artists from the 80s. Both debut cuts are overwhelming pieces accentuated by low sounds and abyssal imagery.
– – – : Some parts in the midst of the album are a little bit monotonous creating a little anticlimax after a strong debut.
Conclusion: Hurry up to put your finger on this album as it’s strictly limited to 100 copies. This is a must have for fans of Dark-Ambient music.
Best songs: “Harm Moan Neocon Virgins”, “Falling Angels Out Of Disc Eye”, Flew Ta Lupe’s”.
Rate: 7½.
August 6, 2023
https://www.side-line.com/asioanova-burns-alive-album-avorg4/
Asianova - ...Burns Alive!
Time: CD (73:49)
Rating : 7.5
Gli Asianova si fondano a Houston, in Texas, ormai più di un trentennio fa, per mano del compositore Ure Thrall (all'anagrafe Greg Logsdon) e dell'allora moglie e collega Pamela Passmore, che trovarono nelle personalità di Wilhelm (vero nome Jim Wilson) e Katkishka (Bonnie McNairn) degli altrettanto seminali Voice of Eye i giusti compagni di viaggio per un'avventura nel principale panorama underground ambient/experimental, più viva e ispirata che mai. Ufficialmente gli Asianova si sono dedicati alla produzione di lavori in studio solo dal '91 al '93, e nonostante l'appassionato lavoro di Thrall, che in seguito alla diaspora dei membri del gruppo ne ha pubblicato incessantemente tramite la propria Discorporeality tutti i lavori, la reperibilità della discografia è sempre stata piuttosto limitata. Ciò nonostante, le pubblicazioni simil-indipendenti di Asianova hanno continuato il loro ciclo, anche dopo quello che si può definire uno scioglimento, o meglio, uno iato, considerato che comunque i quattro elementi del gruppo guardano al passato di questa loro creatura sempre con orgoglio e rivendicandone il lascito artistico. E questa è anche la ragione per cui ci troviamo oggi a recensire questa ristampa di una delle performance dal vivo più significative e simboliche di questo progetto, che si è mosso silenziosamente per decenni nel sottobosco, e ora, finalmente, grazie alla collaborazione con la danese Avalanche, può essere apprezzato in una veste grafica nuova, una produzione e un remastering in grado di rendere giustizia all'incredibile viaggio sonoro del quartetto. "...Burns Alive!" aveva già visto la luce nel 2008, stampato in CDr da Thrall, e raccoglieva i migliori capitoli dal vivo di un tour europeo dell'anno precedente. Adesso, con l'aggiunta di qualche brano inedito e qualche raffinatura di suono e durata, questo importantissimo documento torna sul mercato, a ricordare, se non introdurre ai neofiti, la realtà Asianova; sconosciuti ai più, ma degni di nota nel panorama ambient. Il lavoro scorre come un fiume in piena, tra psichedelie quasi new-age, tappeti di synth eterei ed empirici, gorgheggi femminili amalgamati ad atmosfere cosmiche; strumentazioni orientaleggianti, ascesi dark-wave, sintetismi mai fini a sé stessi, ma splendidamente accorti a lasciar spazio all'elemento umano dei quattro performer. Non è un caso che lo stesso Thrall descriva la loro musica come una sorta di "stream of consciousness", un "flusso di coscienza" joyciano, dove ai limitati schematismi compositivi si preferisce invece l'esplorazione del suono-anima tramite un'improvvisazione organica e sempre vivente. Proprio come l'intero lavoro ricorda (e ne sono esempio le conclusive e magnifiche "Arabian.Aria" e "Tryst in Trieste" (registrate proprio nel capoluogo friulano), mera improvvisazione live, ma decisa e cristallina, dove ogni nota è al posto giusto, ogni istinto esecutivo è lasciato libero di esprimersi. L'album è confezionato in un bellissimo digisleeve a quattro pannelli, limitato a 100 copie numerate a mano; ma va comunque ricordato, proprio in questo caso, che un lavoro di tal portata potrebbe davvero appassionare molti neofiti al genere, perché gli Asianova meritano una particolare attenzione in più rispetto a troppi colleghi rimasti impantanati nei rischi della monotonia del genere. Un'esperienza un po' impegnativa, certo, ma impossibile rimanere indifferenti.
Max Firinu
02-06-2023
http://www.darkroom-magazine.it/ita/107/Recensione.php?r=4953
Asianova - ...Burns Alive!
ASIANOVA - ... BURNS ALIVE (CD by Avalanche Organization)
The group Asianova has been around for many years, since the early 90s, and yet, it seems, only have been reviewed once on these pages, in Vital Weekly 528. In 2007 the group toured in Germany, France and Italy, and a year a limited CDR was released from this tour. Asianova is a four-piece in which finds legendary home taper Ure Thrall (mellotron, percussions, loops, voice, electronics), and the duo that makes up Voice Of Eye, Bonnie McNairn (voice, flutes, electronics) and Jim Wilson (guitar, electronics). In the early days, Asianova only recorded at home and never did any concerts, and effectively was on a hiatus after the mid-90s. They play what they call a stream-of-consciousness sound, anti-composition, and if you know Voice Of Eye's music, then you know where to place Asianova as well. Don't let that Peter Frampton-type title think this is some heavy-duty music, far from it. This is as psychedelic as they come. There might be no composition, and all improvised, but through the long lines of delay pedals, reverb, chorus and what have you, the music here is a long spacious drift. Head or tail, beginning or end, are irrelevant notions for this group. Loopers deliver a guarantee of a continuous sound, and the wordless chanting may have a slightly (or, to some) heavily hippie taste (you can almost smell the incense), but that is part and parcel of the music. I am unsure how the whole improvisation works for them, as only two of the eight pieces are called 'live improvisation', which implies the other six are, perhaps, planned. However, these pieces flow into each other, making up for seventy spacious minutes of music. There was a time when I thought this type of 'free flow ambient' music was a bit too hippy-dippy for me, but these days I am pretty in favour of such things. Especially when they hit a few cans and get the percussive bits out, things move and roll, and that's excellent. Think zoviet*france or Rapoon, but then sparser and spacier. (FdW)
Spring, 2023
EUS - Vhinto No Dresce
Genre/Influences: Dark-Ambient, Soundscape, Cinematic, Experimental.
Format: Digital, Cassette.
Background/Info: Originally released in 2011, “Vhinto No Dresce” was the debut album of the Costa Rican solo-project EUS. Driven by Jose Acuñ, EUS released multiple other productions. The debut opus has now been reactivated and released on cassette format featuring the five original songs plus one bonus cut.
Content: EUS built up its sonic universe by repetitive, long duration, sound waves. It creates a dark and yet relaxing sensation with a strong Cinematic appeal.
+ + + : I like the abyssal sensation emerging from this creation. It sounds dark and yet dreamy, awakening a visual appeal. The bonus cut is accentuated by a Cinematic approach and is my favorite track. I also have to say a word about the sober, but cool artwork of the cassette format.
– – – : The work becomes rapidly predictable and is missing a climax.
Conclusion: This kind of music never suffers from the weight of time; it sounds like it was composed today.
Best songs: “Aire”.
Rate: 6½.
August 20, 2022
https://www.side-line.com/eus-vhinto-no-dresce-album-avalanche-organisation/
EUS - Vhinto No Dresce
Jose Acuña (Costa Rica) started to record music as EUS in 2008. I may have missed his previous releases, including split releases with "Postdrome, Saåad, Mytrip and others". EUS also works as Lioth, Claro de Luna, Ett Abigai. 'Vhinto No Dresce' is not a new release but a re-issue from a CDR from 2011. It is called his "most personal and saddest album". I would think guitars play the most significant role, cementing massive concrete walls of drone sounds. The five pieces flow right into each other, and changes are minimal. You could think it is for listening practices that there are different pieces, but that is not necessary on a cassette. The guitar sounds are stretched out into long sustaining tones. No doubt, a few loop devices play an important role, along with other fine machines. I am thinking of delay, reverb, chorus and such, adding different colours and textures to the guitar playing. I can't say if this is all about "sorrow, nostalgia", to be honest. I rarely listen to music with such emotions in mind (my bad, I know), but I can see the darkness of the music. EUS plays highly atmospheric music, and without any surprises, he does a great job. There isn't anything here you may not have heard before; the world of guitar slingers and loop devices is quite extensive. As an introduction to this one, it is too early to say if EUS has a voice of his own. Maybe I should first update myself on his more recent releases, but I immensely enjoyed the music here, so there is no reason to stop me from investigating further. (FdW)
week 23, 2022
EUS - Vhinto No Dresce
Time: MC (39:26)
Rating : 7
Per la sua terza uscita ufficiale, la Avalanche rispolvera e riporta alla luce l'album d'esordio di EUS, progetto costaricano creato nel 2008 da Jose Acuña, musicista piuttosto prolifico (una dozzina, split inclusi, le release firmate con questo monicker) ed attivo anche con act quali Lioth, Claro De Luna ed Ett Abigail. "Vhinto No Dresce" usciva come autoproduzione nel luglio 2011 in download ed in una limitatissima edizione box in CDr (solo 10 copie), ed ora la tape-label danese lo ristampa nei consueti 50 esemplari numerati a mano, ovviamente su nastro (con la stessa scaletta su entrambi i lati), nella pregiata confezione con custodia in cartoncino satinato e biglietto da visita. Non sbagliano le note ufficiali nel descrivere l'opera in esame come una delle più personali e tristi nella discografia del progetto, che con "Vhinto..." dispiega la propria drone-ambient - fra passaggi ruvidi e porzioni molto più limpide - ponendo l'accento sulla drammaticità e sulla mestizia, impiegando i synth con piglio para-sinfonico per conferire ariosità al pathos a tinte scure che domina la scrittura. Alle cinque tracce originarie si aggiunge la bonus-track "Aire", più sontuosa nelle movenze, ma assolutamente in linea col restante materiale, e quindi più che appetibile per chi già aveva apprezzato precedentemente l'album. Un recupero degno di nota per un titolo ormai molto difficile (se non impossibile) da reperire, che di certo, a dispetto del tempo trascorso, ha molto da offrire anche a quei patiti di drone-ambient cui il nome EUS risultava sin qui sconosciuto.
Roberto Alessandro Filippozzi
31-05-2022
http://www.darkroom-magazine.it/ita/101/Recensione.php?r=4792
Thelxinoe - Inner Subspace
Time: MC (70:00)
Rating : 7
Ristampa di un album uscito in origine nel lontano 2012 in formato digitale, "Inner Subspace" è una delle rare uscite del collettivo russo Thelxinoe, attivo tra il 2012 e il 2014. Lo stile si accosta ad un'ambient dronica molto personale, segnata dall'uso sia dell'elettronica che della strumentazione (sax, basso, chitarra) ed in grado di sviluppare linee tonali al limite tra la space ambient, l'oscurità e la colonna sonora tout court. Le strutture dei pezzi appaiono stratificate in tappeti sonori molteplici dall'andamento fluttuante ed in cui è possibile riconoscere fonti audio diverse, che si dipanano in percorsi differenti (la chitarra di "Fornax Void" non può non ricordare le tonalità di certi pezzi dei Cure, così come alcuni incroci elettroacustici dei brani finali rimandano ai Pink Floyd di metà anni '70). Sebbene il progetto possa essere accostato globalmente a vari nomi drone-ambient del settore, esso propone anche scelte originali, nonché una buona capacità nel creare atmosfere affascinanti nate da spunti indubbiamente fuori dal coro. Al proposito, la lunga traccia conclusiva "Corona Borealis Void Part 1 & 2" si lascia andare all'unione tra una base elettronica piana e una litania di sax e chitarra, mostrando come fonti audio così distanti possono sposarsi bene se trattate in maniera adeguata. Sicuramente uno dei tanti progetti sperimentali di breve vita ancora da riscoprire. Ristampa edita in cassetta accompagnata da una bella confezione cartonata apribile con inserto, il tutto limitato a sole 50 copie.
Michele Viali
28-02-2022
http://www.darkroom-magazine.it/ita/104/Recensione.php?r=4730
Thelxinoe - Inner Subspace
Inner Subspace werd oorspronkelijk uitgebracht in 2012, tien jaar later krijgt het album een heruitgave, voor het eerst op cassette. Omdat cassettes terug volop hip zijn, zullen we maar denken.
Het Russische Thelxinoe bracht in hetzelfde jaar als z’n debuut ook een split uit met z’n landgenoot Bardoseneticcube, en het is in dezelfde ruimtelijke atmosferen dat we deze drone ambient kunnen situeren.
Concreet betekent dit vier lange stukken die alle tijd van de wereld nemen. Bijna zouden we het woord langdradig in de mond nemen (we missen een beetje de ‘magic touch’ zoals we die bij Bardoseneticcube wél ervaren). Gelukkig worden er op het einde van opener ‘Virgo I Cluster’ loodzware subbassen in het spel gegooid die ons alsnog bij de les weten te houden. Een verrassingseffect dat Thelxinoe wat ons betreft wat meer had mogen gebruiken om de opwindingsgraad van dit album toch enigszins de hoogte in te jagen.
Vonden we dit eerste nummer al een traag beestje, dan doet ‘Coma Cluster’ (dat nog eens tien minuten langer duurt, en dus dubbel zo lang is als zijn voorganger) daar nog een serieus schepje bovenop. Een hoofdtelefoon is aangeraden, want de overgangen tussen beide nummers is zodanig stil en laat wel heel erg op zich wachten. De twee ‘korte’ nummers (hiermee bedoel ik de twee nummers van om en bij de 9 minuten) zijn eigenlijk opstapjes naar de daaropvolgende in het lang en in het breed uitgesmeerde klanktapijten.
Doordat Thelxinoe zo zijn tijd neemt is het bijna onnodig te melden dat elk nummer natuurlijk wel minutieus en tot in de puntjes netjes uitgebalanceerd is. Toch ervaar ik moeite om in deze langgerekte space ambient trip mijn uiteindelijke draai te vinden.
Wanneer tijdens de 2 nummers op de B-kant alt- en baritonsaxofoon hun door mij niet zo graag geziene intrede doen, slaat de schrik me pas helemaal om het lijf.
‘Fornax Void’ mag dan nog wel lekker duister beginnen, wanneer de jazzy elementen door middel van de dekselse blazers het nummer binnendringen smelt dit effect toch wel als sneeuw voor de zon. Veel wordt echter goed gemaakt door de 33 minuten durende afsluiter ‘Corona Borealis Void’ waarbij namen als Maeror Tri of Troum opduiken als referentiepunten. Globaal gezien denk ik niet ver van de waarheid te zitten wanneer ik stel dat de doorsnee Dark Entries lezer zijn dark ambient dan ook liever iets bombastischer heeft dan de vluchtige variant zoals we die te horen krijgen op Inner Subspace.
Dimi Brands
18/02/2022
http://www.darkentries.be/nl/recensies/thelxinoe-inner-subspace/
Thelxinoe - Inner Subspace
Genre/Influences: Soundscape, Cinematographic, Drone.
Format: Digital, Cassette.
Background/Info: “Inner Subspace” is the second work released by Avalanche Organization. This album by the Thelxinoe trio was originally released in 2012 (!) on DNA Production. The work of this Russian project has now been re-edited in an artistic cassette format and features the four original tracks.
Content: This album (or mini-album if you prefer) is mixing different influences together, but it clearly sounds like a fusion between a true Soundscape, Cinematographic music and Drone. There’s less variety in the writing and yet there’s an explicit feeling of sadness emerging at the surface. The last track is somewhat more elaborated and features more noticeable electronic sound treatments.
+ + + : “InnerSubspace” is the perfect work to be accompanied by a visual performance and/or illustrations. There’s a strong imagery emerging and especially on the last cut , which is also my favorite for being a bit more elaborated. “Corona Borealis Void” is also the longest piece and this way we can speak about a climax, which comes right at the Final part of the work.
– – – : I regret there are no other cuts, which are a bit more elaborated as “Corona Borealis Void”.
Conclusion: Avalanche Organization had a very good idea to recover this work from dust and give it a second life. This work sounds as dark prosperity.
Best songs: “Corona Borealis Void”, “Coma Cluster”.
Rate: 7.
January 3, 2022
https://www.side-line.com/thelxinoe-inner-subspace-album-avalanche-organisation/
Thelxinoe - Inner Subspace
Here we have the second release by the Avalanche label. It is a re-issue from a 2012 release, only available in the digital domain by DNA Production. Thelxinoe is a Russian duo of Alexey Zakharov (alt saxophone, baritone saxophone) and Peter L (guitar, bass, sound processing). For some unfounded reason, I expected something along the way of improvised music, but I couldn't be further off the mark. This sixty-minute cassette has five lengthy pieces, of which the two parts of 'Corona Borealis Void' span the entire second side. This is drone music with the word drone in all capitals. The information mentions the influences of Maeror Tri and Troum, and that remark is spot on. Whatever the instrument's input was, the effects used to guarantee that you no longer recognize them. There is one exception, and that is the saxophone in the first part of the second side. The music has a similar effect as Troum, via not constantly the most refined drones, penetration into your brain. The music has a hallucinating effect, if you want, which works best in a somewhat darkened room, with preferably some storm and thunder outside. You could argue that that Thelxinoe is a perfect Troum copy, but that additional saxophone shining in the one-piece also made a substantial difference, I'd say. That particular diversion is perhaps something they should explore and carve out some distance between them and the influencers. I am told this cassette is from 2012, and I don't see many releases after that on Discogs, but let's hope there will be some more in the future, walking a new path. (FdW)
09-11-2021
Terralienus - As The Red Giant Passes
Time: MC (38:40)
Rating : 7
Lo scorso agosto la danese Avalanche Organization ha esordito nel mercato discografico con la sua primissima uscita, rappresentata dalla prima release in formato fisico per Terralienus, progetto di drone ambient cosmica da Vilnius, in Lituania. Dopo una manciata di uscite digitali, rilasciate fra il 2008 ed il 2011, l'act di Saulius Bielskis (musicista noto per altri progetti fra metal estremo ed industrial quali Haeiresis, Inquisitor, Ursae Minoris e Velemara) rompe un silenzio decennale per tornare con la nuova fatica, pubblicata dapprima in gennaio come download, e poi in agosto nelle 50 copie numerate a mano dell'audiocassetta, racchiusa in una pregevole confezione apribile in cartoncino con biglietto da visita. Ben più rifinita che agli esordi, quella di Terralienus è un'ambient dronico/cosmica "dedicata alla vastità del cosmo, alle sue trasformazioni ed alla nascita e alla morte di una stella", per dirla con le note ufficiali, ed affine a certe cose della Cryo Chamber (Sabled Sun, ad esempio) in termini di sonorità. Un genere in cui è arduo risultare originali o innovativi, e quindi da padroneggiare a dovere per evocare efficacemente gli scenari desiderati, modulando i suoni col giusto senso filmico, proprio come Saulius mostra di saper fare. Droni mai eccessivamente densi, capaci di veicolare pathos come di placarsi nel minimalismo ambientale da spazio profondo, ma anche in grado di elevare la tensione nei 39 minuti dell'unica grande traccia, riproposta su entrambi i lati del nastro. Un lavoro efficace, mai eccessivamente statico e suggestivo che merita la giusta attenzione da parte degli estimatori delle derive più cosmiche della drone ambient.
Roberto Alessandro Filippozzi
05-01-2022
http://www.darkroom-magazine.it/ita/101/Recensione.php?r=4694
Terralienus - As The Red Giant Passes
Genre/Influences: Dark-Ambient, Drone.
Format: Digital, Cassette.
Background/Info: Terralienus is a solo-project driven by Lithuanian artist Saulius Bielskis who’s also involved with other projects. This is the first work by Terralienus in more than ten years.
Content: The album features one single track, which sounds as a Dark-Ambient and meditative voyage. You feel driven by an endless sound wave, which progressively moves towards an imaginary climax, which never comes.
+ + + : I think it’s important listening to this work in the right circumstances. I imagine listening to this music during a long Winter night, closed eyes and just letting your imagination do the rest. The work indeed has a visual appeal, which mainly emerges at the final part of the work. The sound layers became a bit denser, creating the illusion that a nearby danger comes closer. This is the perfect work to mix with a visual creation.
- - - : The track evolves pretty slowly so in the end 39 minutes are becoming a little bit monotonous.
Conclusion: Terralienus creates a dark and imaginary sonic cosmos.
Best songs: “As The Red Giant Passes”.
Rate: 6.
November 29, 2021
https://www.side-line.com/terralienus-as-the-red-giant-passes-album-avalanche-organization/
Terralienus - As The Red Giant Passes
From his Bandcamp page, I understand that this is the first release for Terralienus in ten years. This fact is not on the information sheet; the previous Bandcamp release mentioned is from 2011 (honestly, I never know what to make of these Bandcamp dates). That fact sheet tells us that this is the first physical release for this one-person musical project from Lithuania. It is also the inaugural release for Avalanche. Terralienus offers one long piece, close to thirty-nine minutes and repeats that on the second side of this cassette. "This music is an outstanding background for those hot sticky summer nights when insomnia and heavy thoughts find a way into your head" is what the musician calls it here, and that is not the association I had with it. Not the hot sticky summer nights nor insomnia, but dark thoughts; yes, I can see those. This music is of dark drone variety, and you can file it under 'dark ambient' or 'isolationist' music. I imagine (no doubt incorrectly) this music is all guitar-based and that there are many sound effects to alter the guitar drones into a rainbow coloured psychedelic trip. It could very well be that he uses other instruments, or, perhaps, field recordings, but none shine on anymore. There is an industrial undercurrent to this cosmic trip, like a fleet of starships are, upon closer inspection, on the verge of a meltdown — the sound of disappearing into a black hole. The cosmic music references are something that Terralienus mentions in the information. It is not something I would easily attach to this music. I think it is all closer to the ground; earthbound music, the sound of mud, clay, dirt, rivers out of control. Those are the sort of images that sprung to my mind. It is whatever the listener wants to take out of it, I guess. I am reminded of Maeror Tri and Troum when I hear this music, and Terralienus is on par with their best work. A re-issue on a CD or CDR would be most welcome. (FdW)
week 38, 2021
Terralienus - As The Red Giant Passes
„Terralienus“ nėra pirmo ryškumo andergraundinės elektronikos projektas mūsų šalyje. Šio projekto vairininko, puikiai elektronikos ir metalo scenos gerbėjams pažįstamo Sauliaus Bielskio kiti projektai, tokie kaip „Haeiresis“ ar „Velemara“, yra sulaukę daugiau dėmesio. Tačiau po dešimtmetį užsitęsusios tylos drone / ambient tvarinys grįžta su 40 min. trunkančiu garsiniu srautu.
Naujasis „Terralienus“ kūrinys tęsia kosminės tematikos liniją ir, kaip sufleruoja pavadinimas, yra susijęs su raudonosiomis milžinėmis – vėlyvąjį raidos etapą pasiekusiomis žvaigždėmis. Šie kosminės erdvės gyventojai pasižymi savita radialine pulsacija, tad ir „As the Red Giant Passes“ drone’iškas garsovaizdis pulsuoja, nors ir gana siauruose muzikos dinamikos rėmuose. Galima justi, kaip garsynas siaurėja ar plečiasi, kaip vos pastebimai kinta dažniai, tembrai, aukščiai.
Lyginant su ankstesne „Terralienus“ medžiaga, „As the Red Giant Passes“ skambesys mažiau atšiaurus, jam būdingos švelnesnės linijos bei gerai subalansuotas dažnių spektras (pvz., albume „Entropycurse“ buvo justi kiek per ryškus aukštų dažnių akcentavimas). Naujasis įrašas primena NASA publikuotus kosmoso garsus, tik Saulius juos harmonizuoja, paverčia kur kas malonesniais žmogaus ausiai. „As the Red Giant Passes“ − puikus meditacinis garso takelis. Grubi pabaiga išmuša iš vėžių, bet galbūt tampa užuomina, jog sulauksime dar vieno įrašo, kuriame girdėsime raudonosios milžinės tapsmą supermilžine?
19-04-2021