This may be a first for me. The release I'm reviewing, 'Data (Lo-Fi Duets)' by Eric Normand is somehow very hard to describe despite being a very simple, very raw (I don't mean quality-wise) record. It is a series of 7 completely improvised duets with 4 people that Eric has come across. Christine Sehnaoui Abdelnour graces two tracks providing alto sax treatments; Martin Tetreault provides 'pick-up, surfaces and rhythm'n sound for guitar' on two pieces; Sebastien Cirotteau contributes amplified trumpet to one piece and 'mic in the mouth' to another; and finally Mario Gauthier makes an appearance on the final track with 'analogic synth & objects.' And of course Eric utilizes homemade 'and domestic' electronics, electric bass and 'mics on fingers' throughout the disc. I really wasn't sure what to expect after reading the credits and the description that is actually part of the cover art, but I was excited to give it a spin nonetheless being a huge fan of improvisation, especially from such basic setups. I wasn't let down in the least. From start to finish 'Data' is a fine record, and a fine example of improve noise. It evolves through feedback and input crackling dancing fleetingly with that alto sax (that Abdelnour manages to somehow, at points make sound like a flute); to almost turntable like noises; to squealing rodent-esque sounds (undoubtedly from that 'mic in the mouth'); back to sax notes that parade around like noisy violins with Normand's echo-y and verbed out bass treatments providing and excellent space for them to cry and scream. The final piece is kind of beyond definition. It may be the most interesting, and probably my favorite of the lot. I failed to come up with a logical description of it, but I managed to scribble just three adjectives down on my notepad while I listened: static-y, blistering, perfect.

This was an interesting one. At first I was concerned about what I was hearing. 'Intersects,' a collaboration between Jacob Felix Heule and Bryce Beverlin II, is a live recording of 2 longform improvisation pieces which begins with sporadic drums and percussion that seem to have little rhyme or reason, which had me reminiscing of a certain scene from 'Joe's Apartment' where Joe makes a less than spectacular drumming debut in a band called 'SHIT.' However, the rocky start is not the only thing this release has to offer. It slowly builds, the percussion tightening and falling in line with Beverlin's random, yet focused arrangement of noises. There is a point where the audio drops to almost complete silence, at which point some electronics are introduced, allowing some droning bass tones to set a backdrop for a little ambient horror, and it's quite wonderful. As time elapses, the noise creeps back in, this time somehow a much more relevant context. The second performance opens with what sounds like a growling bear and an input jack static loop. It grows and grows to a huge monstrosity (using the term in the most endearing of ways I assure you) that fills the senses with waves that bring about a very primal feeling to the core. I think this piece is far stronger than it's counterpoint; at the same time it's also noisier, grimier. It does have its point where it slowly becomes more ambient, and those parts are just as good as the louder movements, however, throughout both pieces, in several spots over the duration of the record, it seems as though volume drops have been employed to suggest a quieter, more ambient atmosphere than perhaps was naturally occurring. I'm not sure if this was on purpose or the fault of a heavy handed compression at mastering, but it can be a bit distracting. That and the intro aside, 'Intersects' is a fine example of longform improve (which I am a huge fan of) that at its peaks doesn't disappoint.

The Ebertbrothers have put out a release entitled 'Engine Eyes' which contains 4 new songs, and 3 remixes from their 2011 effort 'Susten Pass.' The record gives a solid start with the two new songs 'Sunset Car Chase' and 'Rusty Black Bike' which both have a pretty great sound to them. They manage to combine smart, modern beats and rhythms, which extremely chill synths and pads to create these wide open, airy textures. Some of their synths have a bit of a retro feel, but with modern production value. Sometimes they can feel a bit novel, or even ill conceived (synth line in the latter tune), yet despite that they still manage to have a very appealing, and even comforting sound and feel; very strange in a good way. The next set of songs on display are three remixes by Karsten Pflum, Lackluster and Badun respectively. Pflum takes on 'Black String' and offers a less stark, far more funky yet structured approach. 'Feature Film' is reinvented by Lackluster has created a far more chill, yet somehow (occasionally) more sporadic mix, with more of a groove to it. Then Badun sculpts a smooth, spacey rendition of 'Sympathy Changes.' To close the disc two more new songs remain; but are definitely good, but not really noteworthy in comparison to rest of the disc. 'Engine Eyes' treads a lot of different water, but manages to mix it all together in an overall pretty solid record with funky electrogrooves, chill tones and retro synths, and even a moment or two of sweet Massive Attack vibes.

Open: Rich, textural ambient begins to pour from the speakers (or headphones I suppose for most); there is an underlying washing of noises and field recordings. A deep bass slowly creeps in. Very oceanic, almost glacial. And so begins 'Bliss' by Luca Sigurtà from Frattonove (aka Fratto9 Under the Sky). While 'Bliss' contains just 5 untitled tracks, it clocks in at over 41 minutes, each one full of rich, pristine tones, textures and sounds. One of the only signs of melody is discovered at the intro of the second piece in the form of plucky koto or similar instrument, but as the texture slowly fills in around it, it quickly melts away. A very quiet, but delicious track overall. The third movement fades quickly in, filled with lush, almost orchestral walls, which very slowly, and very stealthily mutate into dissonant chords by the end of the piece. Track 4 is far more sparse, with soft static living just beneath a slight tension, which eventually gives way to the final chapter of this aural journey. A crisp ringing drone almost tricks the mind into believing its surrounded by crickets; maybe sitting calmly out in a cool, spring night's air. Until the static returns, much more than before, followed by the sounds of a dungeon or cave, echoing through said night. 'Bliss' has it all, from those beautifully rich, thick textures, to its robust tones, to its underlying noise and field recordings, it is just a well-executed, well-written page in the ambient history books.

When I put this cd in, I had no idea what to expect to be perfectly honest. I reached deep into my bag of material to review and decided for today, to skip over all of the items I knew to be calmer, ambient and soundscapes. Today I required something darker, more chaotic. So I chose Whitehorse's 'Live Ritual : July 25th 2011' based solely on the cover which utilizes their unholy beast design. I had never heard of them prior and based on the rest of what I had in the bag, was expecting more noise than anything. Well, I definitely got some noise, it was just wrapped in a buffalo skin blanket of crushing doom metal. Whitehorse seriously have perfected an absolutely brutiful sound. It blasts through in a thick wall of hate and fuck; truly an epic storm of devastation has been brewed here. The guitars just grind the soul into powder, and the underlying layer of noise washed through the brain like boric acid (in an awesome way). The vocals had a really great middle ground; not to deep and hollow but not too high and thin as some bands tend to do. They didn't get me as worked up as the music itself, but definitely better than the average. Definitely a monument for the ages, this Live Ritual brings the thunder.