Experimental Electronic Music
Introspective moods are cultivated here with pastoral synth washes and mesmeric floating chords. Yet the wisps of sadness in these short pieces do not linger for too long, as winter has given way to spring rains and new shoots of life emerge out of the soil. Even if that soil has been damaged.
The back room of DSGN CLLCTV hosted an evening of electronic, noise, and left field music. Some of those on the bill were old friends and familiar faces from Cincinnati’s stalwart scene of experimentalists, while two of the other acts stopped by on their respective tours, to make for a memorable night.
Perhaps what is most astonishing about the flux of noise, beauty, sound, art, collected here is the number of recent recordings from 2018 and 2021. That makes this particular double-album of various artists unique. The other recordings that aren’t new, are rare, or at least difficult to get a hold of. Having them all in one place is a real treat.
Matmos are masters of the electronic concept album, and I was delighted that the archive in question is the plethora of “sound” albums released by the maverick founder of Folkways, Moses Asch. Beyond the concept, these glitchy, rhythmic, noisy, textural pieces are a joy to listen to and behold.
It is good to hear another contribution to the genre from Dave Seidel, whose homage is a masterpiece in its own right. That’s no surprise considering how as a musician, he continues to stay true and in tune with his own musical vision, all while extending the techniques of the masters who went before him.
We need musicians like Suseti and Henrik Meierkord who take making slow introspective music designed for contemplation an art form, and not just something that can be replicated with a few music apps and some help from soulless AI.
Contemporary pieces that reflect the ancient idea of the music of the spheres into the world of contemplative electronica.
The Magic Carpathians Project have released a number of enchanting albums and recordings since 1998, but Khemia, from 2019, is perhaps their most transformative. It pairs well when listened to back-to-back with the new 2024 release Alchemeia from the ever prolific Scanner.
The use of the standard music trifecta of bass, drums, and melody does ground these pieces in the familiar, yet the way Keith Fullerton Whitman has broken these out of their mold means what he is doing is still risky and groundbreaking research.
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