Eilean 53 is a fine example of precision despite the challenges of each artist doing their own thing in different parts of the world.
Compilation records are always about the label, a purposeful presentation of the style and direction it wants to operate in. Where many of these would-be playlists fail to showcase something fluid and coherent, Eilean Rec. succeed on their recently released Eilean 53, which kicked off the new year for the French label. This collection was recorded by artists spread all over the globe—the UK, USA, Japan, Italy and Colombia—yet the musicians own individual taste in production is similar enough to have kept the record unified. Eilean 53 is a fine example of precision despite the challenges of each artist doing their own thing in different parts of the world. However, that’s not to say this is a too tightly controlled and identically made album, track by track. Not everyone’s singing from the same hymn sheet and the differences between each artists craft creates a harmonious package.
The opening twenty minutes are taut, deep and atmospheric. The second half of the record is a busier affair, packed with percussive elements, bustling with sequences of electronic squeaks and bleeps alongside noise and warm tones. Frankly what’s heard here is close to an accessory from the City Centre Offices label, with many of Eilean’s artists having their mindset focused on creating expert ambient and minimalist pieces derived from the now defunct CCO palette—charming, if that’s your taste.
Notably the opening six numbers are ambient by nature. Aaron Martin’s opener “I have sung you have spoken,” is an urgent piece, with reversed loops increasing in volume before strings cut through a layered delicate atmosphere. Twincities “Dock.Wood,” ticks along like a clock, Xu’s “The Man On The Floating Isle,” is a hazy affair, the piano resonating a calm melody as the track progresses. Miguel Isaza’s “Noches De Crisalida,” is still and tense, while Danny Clay’s “07052014,” is a disjointed ambient piece yet stubborn in maintaining its odd rhythm. Leigh Toro’s “Rheos,” is a rhythmical journey, the melody bouncing around the stereo field.
The final six numbers are far more eclectic—with greater muscle, percussion and distortion. Vhr 1.7’s “Unite” has a tight percussive drum loop with a playful melody and synth heard above. Sublamp’s “Felt Hands,” is a tense and ominous ambient track, a string maintaining a low note while other strings rise above in loops and higher pitches to make a huge soundscape. It’s the most focused track on the compilation. Bmrn’s (Boomruin’s) “Children Play (I Take 2),” is something close to Casino Versus Japan, and it’s an emotional journey. Pascal Savy’s “Nightfall” is an ambient piece, very settled and of great beauty. Nathan McLaughlin & Joe Houpert’s “Interim” is a noisy, experimental train-wreck. It is electroacoustic by nature, the track’s distortion giving the compilation much needed muscle. Final number, “Delirium Tremens / Virtue” by HolyKindOf, aptly uses the word delirium in its track title, as this is an odd ambient soundscape, heavily layered and shifting in tonality. It makes for a dramatic ending. “Delirium Tremens…” has moments of manual manipulation, as if parts of the track are being affected by HolyKindOf himself with, the nuance of a rewinding tape or scratching vinyl throughout.
The best moments are found here when the tension is ratcheted up to breaking point. The focus on stillness is engaging, if a little slow-burning, yet each of the tracks lavish detail is something worth your time. You’ll have to keep reminding yourself, you’re listening to twelve different producers—the precision in musical style amongst Eilean’s roster is seldom found elsewhere.
Eilean 53 is available on Eilean.
