Experimental Electronic Music
On Bare Ground is a sculptural work blending its lo-fi with haunting melodies, field recordings, and ethereal soundscapes. Uncompromising in its approach, the album evokes the echoes of experimental music from a spectrum that ranges from dark bedroom pop to rhythmic noise, crafting a cloudy and dreamlike atmosphere.
The complete pieces are reconstructed settings from a human perspective. In them, you can hear subtle changes, and arguably some development. The album is mainly atmospheric, communicating a wide and subtle range of gloomy impressions and moods.
It may take several listens to really appreciate the calming ambient mélange of raw synth notes, fuzzily looping tapes, and absorbing electrical soundscapes that Simon Spiess unleashes here.
We find it all confusing and compelling at the same time. A serious snapshot through our day-to-day lives and the mundane commercial messaging that unfortunately is part-and-parcel of corporate powerhouse greed taking over our devices.
The best course of action is to just jump in and take in the vast scenery that is offered here. Joachim Stiller offers extended synth strands and micro-sound abstractions, reminiscent of vintage Subotnick experiments.
In a way this album can be thought of as a collective mirror reflecting the sound prerogatives and choices of People Like Us and the many guest musicians involved as they wander through the library. From this fact people often infer that the library is infinite, because it sounds like they have used an infinite number of pieces to create this kaleidoscopic collection of musical associations.
Radio broadcasts, air traffic control, music from another era—get trapped and swirled in with the communications of vast and disparate alien cultures…
Elsewhereness revisited is an occasional feature documenting the drift at the margins: ambient gasbagging and blurb blah, ’tube-d, ’cloud-ed, ‘n’ ’camp-ed up, complete with companion mix, Elsewhereness […]
The listener enters in a delirious and vast collection of amorphous sounds, punchy electronic grooves, spacey droning textures and erratic collages. For fans of transversal […]
It’s almost like Salvaging the Present is a journal of De Benedictis’s travels, a collection of discarded sounds and ideas brought together to paint outlines of […]
