ping things

"Temporal Arc" by Interstitial

noreply@blogger.com (mara's torment) — Sat, 04 Jul 2009 12:10:00 +0000

Originally released in 2001, "Temporal Arc" by Interstitial is a great album that blends drones and percussive elements in a fluid and natural way, resulting in an engaging collection of music that still sounds fresh and vital now almost ten years later. John Koch Northrup of Interstitial has brought together sounds and tones in a skillful mix that pays equal attention to all of the elements in the soundfield, giving the listener something new to discover with each listen.

Opening track "Frozen" establishes a style for the release, pairing deep drones with pulsing rhythms to create a feeling of motion within the track. As it continues, the drones slowly become more sophisticated and dense, and the rhythms become more complex, moving the song from one distinct space to another in such a subtle and immersive way that you don't notice you've moved until you arrive at your new location. The same sort of gradual movement can also be found in "Bones of the Dead", where oblique motion helps the track drift along, and in "Refraction" where IDM sensibilities take the listener in completely new and interesting directions within the established soundscape of the release.

In addition to the aforementioned tracks, there are some particularly wonderful moments of melodic beauty and purity on the disc that bear further mention. "Movement in Glass" features a quiet piano played overtop a lightly crackling background tone. It's a subtle piece of music, one that brings to mind a thousand delicate images that pass through my head during its length, and I've always enjoyed music that evokes that kind of imagery. It's the bonus track "Marco Polo" that stands out the most for me though. Originally appearing on a compilation in 2002 and added for this rerelease, "Marco Polo" is a seemless blending of field recordings and drones that creates a dark and haunted but no less beautiful environment. As the track progresses it becomes more complex, adding tonal layers that give it a greater depth of emotion and space. Stylistically it fits in wonderfully with the rest of the disc, in some ways becoming a centre-piece around which all the other tracks revolve. A really great addition to a really great collection of music.

Needless to say, I really enjoy this release. With "Temporal Arc", John Koch Northrup has proven himself to be an artist who pays careful attention to the spaces within his work, and who's music exists within it's own niche separate from styles and trends. I strongly recommend it, and I very much look forward to hearing more work from John in the future!

"Temporal Arc" by Interstitial is available now from AtmoWorks.

rik - ping things

Illumination 2 featuring music by Michael Diamond and Sylken with visuals by Ken Jenkins

noreply@blogger.com (mara's torment) — Sat, 27 Jun 2009 11:43:00 +0000

Surely the idea of pairing sound and vision is not a new idea. Having grown up in the MTV era I take the idea of the music video for granted as a logical extension to the creative process and I have a lot of respect for artists that have been able to effectively incorporate a visual aesthetic into their work. But my experience is that in the ambient genre it's a little more tricky to do that effectively. As a musical style it's not one that lends itself to being easily translatable to a visual form. That's not to say it can't be done, it's just to suggest that there are some pretty significant challenges in capturing such an abstract style.

So you can understand that I would be interested in seeing what happened when Michael Diamond and Sylken released a DVD with Ken Jenkins. Sylken have long been one of my favorite projects in the ambient scene, and have always been equally attentive to a visual format. While I'm not familiar with Michael Diamond's work, I was assured by those in the know that he's an excellent artist who blends in well with the Sylken sound. Needless to say I was curious to see what they would all come up with. It should come as no surprise that I was quite impressed.

The first half of the DVD features work by Michael Diamond overtop a video display of cascading lights. It's a beautiful visual that works well with the music, a well produced blending of sight and sound that's very effective. Diamond's work is well suited for the visuals at hand with slowly drifting pads evoking thoughts of inner and outer space that are echoed by the slowly shifting nebulae of Jenkins' imagery. Tracks blend and mix with one another to create a continuous mix of sound, with the visuals progressing in a similar organic fashion to create a very nice long form experience that's quite impressive.

The second part of the DVD incorporates Sylken's music, and is equally well suited to Jenkins' visual style. Sylken's work has always had a particularly dreamy/spacey quality to it that has always appealed to me and it seems that the visuals have been well chosen to match that ideal, having more of an amorphous and cloudy feel to them than the first half, often using cool blues and light greens which lead to a feeling of relaxed isolation, a sense of floating through the stars. Mixed as a continuous 58 minute piece, the pairing of Sylken and Jenkins is an inspired one that I hope will be explored again in the future.

As expected, Illumination 2 is a great pairing of light and sound that succeeds admirably in creating a visual representation of the work of both Diamond and Sylken. My only regret with this release is that there is no listing of tracks or song titles to note the works being played. Surely I love to be lost in the music just as much as everyone else, but new fans of each artist might be interested to learn where they can find more music from either act. Otherwise I see this as an excellent release well worth picking up.

rik - ping things

Illumination 2 is on sale now at ping things for only $10 while supplies last!

$8 and $10 sale at ping things!

noreply@blogger.com (mara's torment) — Sun, 14 Jun 2009 14:07:00 +0000

We're having a sale at ping things to celebrate the nicer weather! CDs by Andrew Duke, Embracing the Glass, James Johnson and more are all on sale for $10! That doesn't excite you enough? Well then how about discs by Darshan Ambient, mara's torment, Synthetic Block and more for only $8?

Check out the ping things page at http://www.pingthings.com to find out more, but be sure to hurry, sale prices are only in effect while quantities last!

the ping things net label is taking a break for the summer...

noreply@blogger.com (mara's torment) — Sun, 31 May 2009 02:11:00 +0000

I just wanted to drop a note to say that the ping things net label is going on hiatus over the summer months so I can work on my own musical projects and catch up on the huge pile of CD reviews that I have to do. Don't worry though, ping things will be back on a monthly schedule again in August with some great new music by some really exciting artists!

In the meantime I also wanted to let you know that I've been moving the ping things catalog over to the archive.org site as it will provide a more stable platform for releases as well as add a number of features like streaming content and single mp3 downloads. And by moving the releases over, I also have reason to re-introduce some of the earlier ping things releases that our newer readers may have missed the first time around! So in case you missed them the first time, here are the new site locations for the ping things catalog:

PTNR001 Spatial Correlation "Les Landes"

PTNR002 Phil Ogisen "The Perfect City"

PTNR003 Andrew Duke "Aqua"

PTNR004 Nunc Stans "Land"

PTNR005 Ortiz "Where Did We Come From Defcon?"

PTNR006 mara's torment "tactile"

PTNR007 Building Castles Out of Matchsticks "October Sky"

PTNR008 Remora "Ensoulment"

PTNR009 Panoramaroid "Music for Travellers #2"

PTNR010 mara's torment "fluctuations"

PTNR011 Spatial Correlation "Love and the Fear of Poverty"

PTNR012 Reinholt56 "Mechanism of the Soul"

PTNR013 subduction current "iNTHiSHOUSE"

You can also check out the main ping things page at the archive .org site by visiting here. Feel free to drop by and let me know what you think of the label so far, I'm always interested in feedback!

Download "iNTHiSHOUSE" by subduction current for free!

noreply@blogger.com (mara's torment) — Sun, 26 Apr 2009 11:55:00 +0000

Download "iNTHiSHOUSE" by subduction current for free from ping things!

ping things is thrilled to present an exclusive new offering from Catherine Tammaro performing under her guise as subduction current. Well known in the Toronto ambient improv scene for her live performances which blend music and electronic light media, Catherine's latest "iNTHiSHOUSE" is a sensual and beautiful journey through fluid spaces and liquid sounds that perfectly capture the musical and artistic ideals that inform her work. Drawing influence from deep beneath the sea and deep within the self, "iNTHiSHOUSE" is a carefully crafted series of songs that immerses the listener in a new environment, a new reality.

"iNTHiSHOUSE" is available for free download as an 67Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright Catherine Tammaro 2009 and may not be used or reproduced without the artist's express permission.

"iNTHiSHOUSE" is the latest release from the ping things net label. New releases will be added to the site on the 1st of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review for "Ensoulment" by Remora

noreply@blogger.com (mara's torment) — Sun, 12 Apr 2009 20:04:00 +0000

The following review of "Ensoulment" by Remora appeared in the Dutch weblog IkEcht Gothic Reviews. Thanks very much to Leon/Songsoverruins for the translation.

If you haven't already heard "Ensoulment" by all means feel free to find out more from an earlier blog entry here, or download it for free from ping things here.

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A remora is a fish belonging to the family of the suckerfish. You'll probably know them because of their modified dorsal fin with which they attach themselves to a host, like a shark for example. Putting aside this lesson in biology for a moment (you have to do something with your education, no?), Remora is also the alter ego of the American Brian John Mitchell under which he mostly releases music on his label Silber Records. This label recently notified us that a number of albums had been released as MP3s and could be downloaded from their or other websites for free. "Ensoulment" has been released on the label "ping things". Their blog gives some more background information for this album.

Around 1995 Remora started making drone / ambient music using the guitar as a sound source. On later albums he started exploring other styles but this one sees him returning to the guitar. Or as ping things put it "six tuned wires mounted on wood". "Ensoulment" is one nearly 72-minute sonic landscape that waxes and wanes. For those of you who are reminded of drone-doomers like Sunn O))), Nadja or OM; not quite, more drones, less music. The accompanying press release mentions influences such as Justin K. Broadrick (Godflesh, Jesu), Mike VanPortfleet (Lycia) or the Polish composer György Ligeti.

In my opinion Remora manages to avoid monotony by slowly building towards less distorted periods amidst the walls of noise. I must admit that I'm not entirely convinced; there is only so much one man can do with a guitar. It does make for a pleasant piece of late-night listening. Is that a recommendation? That's a difficult question, as my taste in music has moved towards ever more abstract and inaccessible territories over the years. Ask yourself whether one 72-minute track appeals to you. Patient people that like abstract music or metalheads into funeral doom, or the droning of the above mentioned artists might appreciate this as something to relax to.

- songsoverruins

Download "Mechanism of the Soul" by Reinholt56 for free!

noreply@blogger.com (mara's torment) — Thu, 02 Apr 2009 03:18:00 +0000

Download "Mechanism of the Soul" by Reinholt56 for free

ping things is very pleased to announce the latest addition to our net release catalog. "Mechanism of the Soul" by Reinholt56 is an impressive collection of instrumental ambient works that capture the wonder and mystery of the cosmos.

"Mechanism of the Soul" is available for free download as an 112Mb Zip file containing the full 10 track release in high quality 256kbps mp3 format along with artwork and notes suitable for printing. The music on this release is copyright Reinholt56 2009 and may not be used or reproduced without the artist's express permission. For more information about Reinholt56, please visit http://www.macjams.com/artist/Reinholt56

"Mechanism of the Soul" is the latest release from the ping things net label. New releases will be added to the site on the 1st of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review this release at Earlabs

Dowload "Love and the Fear of Poverty" by Spatial Correlation for free!

noreply@blogger.com (mara's torment) — Sun, 01 Mar 2009 20:02:00 +0000

Download "Love and the Fear of Poverty" by Spatial Correlation for free

Spatial Correlation returns to ping things with a new release entitled "Love and the Fear of Poverty" which is now available for free download. Ranging from lo-fi bedsit experiments to lush orchestral ambience, "Love and the Fear of Poverty" captures Ryan Hagerman at his best, creating the melodic chilled ambience that has made him so well loved by his fans.

"Love and the Fear of Poverty" is available for free download as an 81Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright Ryan Hagerman, 2009 and may not be used or reproduced without the artist's express permission.

"Love and the Fear of Poverty" is the latest release from the ping things net label. New releases will be added to the site on the 1st of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com.

Review this release on Earlabs

Download "Fluctuations" by mara's torment!

noreply@blogger.com (mara's torment) — Sun, 01 Feb 2009 19:00:00 +0000

Download "fluctuations" by mara's torment for free!

The February release from the ping things net label comes from mara's torment and is now available for free download. "fluctuations" is a four track collection of music, exploring and expanding upon work from previous live performances resulting in new textures, new sounds, and new environments.

"fluctuations" is available for free download as an 65Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright rik maclean 2009 and may not be used or reproduced without the artist's express permission.

"fluctuations" is the latest release from the ping things net label. New releases will be added to the site on the 1st of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review this release on Earlabs

Join the ping things community at ning.com!

noreply@blogger.com (mara's torment) — Sun, 25 Jan 2009 17:46:00 +0000

If you're here because you enjoy music in the ambient/electronic/darkwave/chill genres as much as we do, then you should join the ping things community at ning.com! Listen to new music from other artists, post your own music and videos and promote your own art, take part in forum discussions with other people that enjoy music as much as you do, and more! Check it all out at http://pingthings.ning.com/

"Sound Symbols" by Numina

noreply@blogger.com (mara's torment) — Sun, 25 Jan 2009 02:09:00 +0000

For his latest release, "Sound Symbols", Jesse Sola of Numina returns to ideas previously explored in an exclusive ping things ALMOST LiVE SESSiON, building and expanding on them to create a new work that stands as a distinct addition to his catalogue. As with all of his earlier releases, "Sound Symbols" finds Jesse paying careful attention to the development of atmosphere in his work, shaping an environment that surrounds and engages the listener.

"Buried Icon" opens the disc, with the sounds of shifting pads and floating tones that suggest deep desert sands, a night time wind slowly changing the landscape. There's a sense of hidden mysteries and solopsisms to keep just between ourselves, stories that need to be kept for generations and passed on when the time is right. It's a timeless sound that Jesse has created here, something that exists in the now wherever that now might be. Wonderful.

"Symbolic Script" follows, a fluid follow through from the previous track. Long, sustained pads flow through the soundfield, creating a lush backdrop of sound over which a series of new tones and forms begin to take shape. As the track progresses, there's a shift in the direction of sound, and the listener is taken to a more melodic space, but one that still shares the same feeling of drift that has been sustained to this point.

Track three, "Hieroglyph", begins with a bell tone, the sound of ringing, which echoes throughout the soundfield, creating another new space for the listener to explore. Sparse tones play distantly in the background, rising to the outer edges of the track and then vanishing again. There's a nice suspense inherent in this track, a strong feeling of impending danger that sets the listener at unease, inspiring a higher level of active listening while one waits for the lessening of tension. Deep, bass-y tones add to the suspense, along with haunting wind-like pads. A truly unsettling piece of music that impresses me greatly for it's ability to play with the feelings of the listener.

"The Segret Figure" flows seemlessly from the last track, a return to more comfortable spaces and tones. The listener is returned to a bed of flowing sounds and drifting tones that create a background over which a series of bells and wind sounds play. It's a welcoming sound, something very calming and womb-like that appeals.

The disc closes with "Angelic Relic", rising and falling pads paired with arcing synths and softly pulsing analog sounds. It's a masterful blend of tones, a very appealing sound that simultaneously soothes and invigorates the listener. As the track progresses, a melodic guitar line appears, adding an organic element to the proceedings that firmly grounds the track for the listener. Very nice work and a lovely way to close the disc.

As with previous releases from Numina, the music on "Sound Symbols" is a beautiful soundscape suitable for drifting and dreaming, an emotional collection of work that stays with the listener long after the last notes have faded. I've been a fan of Jesse Sola's work for a number of years now, and "Sound Symbols" is a fine example of all the reasons that his music appeals to me so much. Highly recommended.

rik - ping things

"Human" by Falling You

noreply@blogger.com (mara's torment) — Sun, 25 Jan 2009 01:54:00 +0000

I first came across John Michael Zorko's work as Falling You through his release "Mercy" which I first heard back in the mid nineties. I was struck by how emotional and evocative it was, how much it resonated with me as a thing of beauty. I fell in love with his work that day and I've been a fan ever since. And as a fan, I was thrilled by the release of "Human" in 2006, a stunning blend of female vocals and beautiful ambient electronics that improves upon Zorko's already impressive back-catalog.

The disc begins with "Destiny Trip", the sound of gentle wind and waves rising and falling, leading into a nicely chilled percussive track paired with vocals by the very brilliant Dru Allen. It's a lovely sonic match, Dru's voice complimenting the drums to perfection. The lyric "something he says to me" carrying a particular weight as it speaks to the work of Zorko as a whole, a connection that resonates deeply with the listener.

"Tribe" follows, a slowly swirling pad and languorous vocals stretching across the length of the track. Elastic synthwork blends in seamlessly with other tones, revolving around a particularly emotional vocal delivery by Aimee Page. It all works really well together, and when a driving guitar line is added to the mix, the effect is quite impressive. A fine example of Zorko's wonderful ability to blend elements together to create something beautiful.

"Shadow Child" begins with the sound of light chimes, soon accompanied by some very tasty snare. A slick synth sequence anchors the track down with a nice bass line, while vocals by Jennifer Mcpeak smooth out the mix. There's a feeling of restrained urgency here, a sense of need or yearning that connects with me deeply. Zorko plays some wonderful piano to close out the track, a slick and sophisticated bit of playing that emphasizes his natural musical talent. A truly stunning piece.

"Bring down the Stars" has an appropriately spacey sound to it, a beautiful and haunting soundtrack for intergalactic travel. Dru returns for vocals on this one, providing an appropriately alien voice throughout the first half of the track, the second half finding her singing lyrics with full voice. I like the lyrical content of this one, the idea of giving a star to another as a gift being something that I can appreciate very well.

"A Bird in a Cage" is a particularly short one, beginning with a metallic alien landscape that gives way to Aimee's vocals and some sparse piano work. It's hard to say which is more beautiful really, the piano or the voice, but I'm going to have to go with Aimee's voice on this one.

Track six, "Varenka", finds Zorko collaborating with Erica Mulkey, who some of you will know as Unwoman. Doing double duty on vocals and cello, Erica gives a heartbreaking performance that I would count among her best, an emotive vocal that pulls at my heart and leaves me wanting more. Quite simply, this pairing of brilliant talents is every bit as excellent as you'd expect it to be.

"Starshine" sees a return to more uptempo sounds and a particularly impressive performance from Jennifer. Moving away from a typical lyrical structure, Jennifer shifts and stretches the song's words in a fluid way that showcases her vocal prowess and songwriting skills. The last half of the track sees a shift from uptempo vocals to a more atmospheric instrumental passage that carries the theme of "Starshine" through its use of space-y tones.

"One Hundred Years (of Solitude)" sees Aimee returning to vocal duties, this time just her vocals paired with sparse piano and ambient electronics. It's a nice sound, one that allows the listener to really focus on Aimee's voice, really feel the strength of her performance. Very nice work.

The disc ends with "An Angel, Ameliorate", an atmospheric piece where Zorko and vocalist Susanne Perry create a musical space that envelops the listener. It's a lush track, a very warm piece of music that draws you in further with every passing moment. A lovely way to end a lovely disc.

Needless to say, I adore "Human". It's a brilliant collection of songs that carry on from earlier work by Falling You and set a new standard of excellence for John Michael Zorko's music. Truly a high point in an already impressive career, "Human" comes highly recommended.

rik - ping things

Happy Holidays at ping things means free shipping for orders placed Dec 26th and 27th!

noreply@blogger.com (mara's torment) — Fri, 26 Dec 2008 13:27:00 +0000

Happy Holidays from ping things!

Any orders placed December 26th and 27th will be sent with free shipping! Order anything from the ping things catalog at http://www.pingthings.com and it'll be mailed out to you for free!

Enjoy discs from Austere, Aidan Baker, The Circular Ruins, James Johnson, Sylken, and more, all at low prices with free shipping!

rik
ping things
http://www.pingthings.com

Download "Music for Travellers #2" by Panoramaroid

noreply@blogger.com (mara's torment) — Tue, 23 Dec 2008 01:20:00 +0000

Download "Music for Travellers #2" by Panoramaroid for free!

I'm very pleased to announce the latest release from the ping things net label. "Music for Travellers #2" is a brand new collection of music from the very talented Matthew Poulakakis performing as Panoramaroid. Listeners already acquainted with Matthew's work as Automatic Fats and Salvagesound will hear a number of musical reference points, with Panoramaroid drawing style tips from both of those projects to create aural landscapes with bass-driven grooves, a travelogue of sounds that will appeal to all of you who like to explore new musical spaces.

"Music for Travellers #2" is available for free download as an 81Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright Matthew Poulakakis 2008 and may not be used or reproduced without the artist's express permission.

"Music for Travellers #2" is the latest release from the ping things net label. New releases will be added to the site on the 22nd of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review this release at EARlabs

Download "Ensoulment" by Remora, free from ping things

noreply@blogger.com (mara's torment) — Sat, 22 Nov 2008 13:09:00 +0000

Download "Ensoulment" by Remora for free!

I'm very pleased to announce the latest release from the ping things catalog. "Ensoulment" by Remora is the latest release from Silber Media founder Brian John Mitchell. Brian has been experimenting with guitar atmospherics since 1995. "Ensoulment" marks a return to long form ambient guitar drones that have been absent from Remora’s recorded output since 1999’s Ambient Drones for One Guitar. It was recorded with one guitar (no overdubbing)split into three effect channels (loop and envelope filter; distortion, loop, and reverb; distortion, sub-octave, and reverb) and an acoustic guitar in front of an amplifier used as an ambient room mic.

On "Ensoulment" Remora throws out the idea of using the guitar as a melody instrument, approaching it instead as a sound source, as six tuned wires mounted on wood. The idea of song and melody is replaced by an increased importance on the tone and feeling of the sound. A conveying of emotion without implementing any of the common tricks of the guitarist’s trade. "Ensoulment" is one piece clocking in at over seventy minutes filled with dynamics one might feel in a restless sleep, a surrealistic soundscape full of monstrous walls and serene calm moments. It is both claustrophobic and calm. You can hear the influences to Brian’s ideas of tone and beauty from Justin Broadrick to Gyorgy Ligeti to Mike VanPortfleet as he occasionally coaxes sound out of the guitar, but more often forcefully beats it out. This is ambient music for the tarmac rather than inside the airport lobby.

"Ensoulment" is available for free download as a 126Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright Brian John Mitchell 2008 and may not be used or reproduced without the artist's express permission.

"Ensoulment" is the latest release from the ping things net label. New releases will be added to the site on the 22nd of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review this release at EARlabs

An interview with Phil Ogison

noreply@blogger.com (mara's torment) — Wed, 12 Nov 2008 04:01:00 +0000

Regular guests to the ping things site will no doubt be familiar with the work of Phil Ogison. Having released a variety of discs under both his own name and as The Devil in the Design, as well as part of a number of collaborations, Phil has firmly established himself as a prolific and well respected artist in the ping things community. In recent months Phil has released his album “The Perfect City” as part of the ping things net release label (download it for free here if you haven’t already), and is currently set to perform at the inaugural performance of the Psychedelic Ping in Toronto, so it seemed like a reasonable idea to sit down and find out a little bit more about him.

ping things: When was the first moment you knew you wanted to be a musician?

Phil Ogison: I would have to divide that question into two, possibly three parts. In the first instance, my defining awareness of an 'internal' music came spontaneously while accompanying my parents on a car trip. We were passing the site of an old monastery, somewhere in the south of England, and I distinctly 'heard' a three note melody, (b,a,b) and from then on I became aware of music. I was probably the age of 5, or 6. The second instance came not with hearing the Beatles or any other Brit invasion bands for the first time, although I appreciated and loved many of the songs. I had been raised with a mother who loved Classical music, and father who adored big bands. In fact, my father had been a drummer with a jazz band before his service time in WW2. In 1965 I heard a song by Love, called '7 and 7 is' and was entranced by the chord progressions and drumming. I resolved to pester my dad into getting me a set of drums, and about six months later I received a second hand set of somethings, which I set up in the basement and pounded every night after school, emulating for the most part, Keith Moon and Dave Clark. The third defining moment came when I met a professional drummer in 1966, Paul Franklin, who was playing clubs and local gigs, and I thought, "that's what I want to do". From then on I honed my chops with local bands in the Whitehorse Y.T area, eventually replacing Paul in a band from Ontario and left Whitehorse to take my first pro gig on a tour of northern and central Ontario. This was in 1969.

Visit the ping things community to read more...

Download "October Sky" by Building Castles Out of Matchsticks, free from ping things

noreply@blogger.com (mara's torment) — Thu, 23 Oct 2008 01:53:00 +0000

Download "October Sky" by Building Castles Out of Matchsticks for free!

ping things is thrilled to present "October Sky" by Building Castles Out of Matchsticks. "October Sky" is a collection of mostly improvised works by Anne Sulikowski using guitar, pedals, voice, laptop and synthesizers to create two pieces that are a collage of sounds, and are meant to be heard as one continuous piece. The second segment "Sky" contains a cover of Corey Hart's song "Water From the Moon" from the album "The Boy in the Box".

Anne comments about the release "Fall is perhaps the most melancholy of all the seasons. Because it is so neutral, so warm and yet grey, it is easy to become absorbed in the most deepest of your memories, your feelings, and the random thoughts and the blurs between your reality and your dreams. A perfect time for a pause. Introspection. These pieces are remnants of my mind as it wanders with the autumn wind......

Nothing beats the sky just before twilight in the month of October, absolutely nothing."

Anne would like to thank ping things for the opportunity of this release. She would also like to thank all of her friends who made the October sky seem much less far.

"October Sky" by Building Castles Out of Matchsticks is available for free download as a 64.3 Mb Zip file containing the full release in high quality 192kbps mp3 format along with artwork suitable for printing. The music on this release is copyright Anne Sulikowski 2008 and may not be used or reproduced without the artist's express permission.

"October Sky" is the latest release from the ping things net label. New releases will be added to the site on the 22nd of each month. I hope that you'll enjoy this new music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review this release at EARLabs

Download "tactile" by mara's torment for free!

noreply@blogger.com (mara's torment) — Mon, 22 Sep 2008 10:51:00 +0000

Download "tactile" by mara's torment for free!

ping things is proud to present "tactile" by mara's torment. Released as a single long form piece in four movements, "tactile" continues the studies in environment and isolation that have always been at the heart of the work of mara's torment. Crossing a wide range of emotional terrain, "tactile" is the latest net release from ping things.

"tactile" by mara's torment is available for free download as a 68.5 Mb Zip file containing the full release in high quality 256kbps mp3 format along with artwork suitable for printing. The music on this release is copyright rik maclean 2008, and may not be used or reproduced without the artist's express permission.If you enjoy the work of mara's torment, please feel free to subscribe to the mara's torment podcast.

"tactile" is the latest release from the ping things net label. New releases will be added to the site on the 22nd of each month. In the coming months you'll be able to download exclusive work from Building Castles out of Matchsticks, Remora and more. I hope that you'll enjoy their music as much as I do, and I encourage you to let me know what you think of it by e-mailing me at rik@pingthings.com

Review this release at EARLabs

"Outlines" by Shen

noreply@blogger.com (mara's torment) — Mon, 22 Sep 2008 10:41:00 +0000

I've always enjoyed music that creates a space and environment. When it's done correctly, it can be a transcendent experience where the listener can travel to other places and times without even leaving the room they're in. Listening to "Outlines" it's clear to me that Noah Pred (performing as Shen) is an artist that fully understands that creation of environment. "Outlines" is a thoroughly engaging collection of tracks which perfectly capture a sense of location.

"Main Springs" opens the disc with the sound of running water, quickly turning into a chilled percussion line that blends in seemlessly with a percolating synth pattern. It's an intricate blend of sounds, a complex pattern of tones that immediately engages the listener's interest and sets them off on a sonic travelogue.

"Causation" uses a slightly phased double vocal over steady percussion. The voice adds a nice organic quality to the track, and though I usually prefer smooth instrumentals, I find the vocals here really add to the sound of the song, complementing the tonal quality very well, giving the track a particularly playful sound.

"Symbol Range" features a very elastic rhythm pattern interspersed with a nice use of drum rolls that blends in well with a combination of synth stabs and melodic lines. There's a dense sound throughout the track, a strong feeling of depth and space that I find most appealing.

"Cold Bones" has a slow dub sound to it, a bit of a departure from earlier tracks on the disc but an effective one. There's some great use of the soundfield on this track, using carefully positioned and panned drums to widen the sonic experience.

"Crater Lake" has a spacey ambient feel to it, using processed sounds over a slowly oscilating pad. Percussive loops play throughout, propelling the song along effectively, fitting into the soundfield nicely but never getting in the way of the rest of the track. Very well done.

"Swift Moon Pass" goes for a particularly deep sound that revolves around an elastic bass line and low frequency synths. The addition of a steady melody loop makes for a nice chilled track, something well suited for nodding one's head in the corner to. This is of course, a very good thing.

"Peering Down Gazing up" is more of a preview of a track, clocking in at just a little bit over a minute. Employing thick pads and some tasty samples, it's a track that whets the appetite leaving me curious as to how it would unfold in a live setting.

"Flood Plain" uses shaken percussion and a perky synth line to suggest rain, a fluid backdrop completing the image. Tones echo and delay like waves, intersecting and crossing through each other's wake, a nice result that's quite effective sonically.

"Bridge of Dust" begins with a sparse melody leading into a light but complex percussive loop. Elements are added as time goes on, including echoing synth stabs and talking box vocal bits, all combining to make a nicely engaging environment. There's a particular late-night lounge groove in this track, music played under passing street lights at all the trendiest clubs. Very nice and evocative.

"Red Pine Cliff" uses deep percussive lines and higher mid-range sounds to create a new aural environment. Loops evolve and shift dynamically throughout, allowing for a familiarity to the material while still retaining an interest and vibe in the track.

"Forgotten Grove" has a playful sound, high synth pierces echoing a deeper bass line, the remainder of the soundfield filled out by squelchy bits and steady drumloops. It's one of the shorter pieces on the disc, and once again I find myself wishing that it was longer, just so I could hear what it expands and grows into. A satisfying track, but one that leaves me wanting more.

"Broken Jade" brings a sense of mystery and mysticism to the disc, cascading flute melodies paired with a deep and elastic bass line. The percussion in this track has a particularly metallic sound which works well with the organic nature of the song. Spaces and pauses are used effectively to add to the track, a fine example of where the spaces between notes are just as important as the notes themselves.

"Embrace" brings vocals back into the mix, the sultry voice of Kinnie Starr adding a layer of sensuality to the track. The accompanying instrumental backing remains sparse to allow for the vocal lines to wind through the track, the end result a very impressive piece that stands out as one of the best on the disc.

"Onflow" closes the disc, a very minimal piece that succeeds in creating a space and environment unique to the rest of the work on the disc. Percussion is absent from this one, relying more on moving sounds that drift through the soundfield. Very nice and very calming, I wonder what a whole disc of ambient sounds from Shen would sound like?

Throughout "Outlines", Noah displays a particular talent for blending sounds and tones, seemlessly pairing synth and percussion lines to maximum effect to create a space for the listener to explore, tracks weaving and intertwining with each other to create a fascinating array of vistas. As noted at the beginning of my comments, I've always enjoyed a disc that creates a new environment, and "Outlines" by Shen succeeds admirably in doing so.

rik - ping things

"Timeless" by Nunc Stans

noreply@blogger.com (mara's torment) — Mon, 22 Sep 2008 00:18:00 +0000

A new release by Anthony Paul Kerby of The Circular Ruins and Lammergeyer

Buy "Timeless" by Nunc Stans at ping things!

With the release of "Timeless", Anthony Paul Kerby of The Circular Ruins and Lammergeyer returns with a new disc under his guise as Nunc Stans. In keeping with the latin translation of the name Nunc Stans, "Timeless" is a collection of music that exists in the present or "standing now", work that creates an image for the listener to absorb and become part of, as opposed to the creation of atmosphere and environment that permeates Kerby's other projects. It's a subtle difference, but a significant one.

"Some Things You Missed" opens the disc with a repeated pattern that builds in volume, paired with a gristly drone that plays underneath the surface. There's a nice use of the soundfield here, a shifting metallic tone just on the edge of the track adding an extra spatial depth. Very nicely done.

"Labrador Sunrise" begins with a steady drone that gains strength as the track progresses. Slight variations catch the ear, a sense of fluctuation just on the edges of perception, but overall the sound stays steady, still. Eventually higher tones can be heard breaking the stillness, but never so much as to detract from the focus of the initial drone which plays throughout, constant. A fine example of "being" within a track, "living" within a musical space.

"The Desert of the Real" features an oscillating drone, accompanied by a variety of other tones and sounds. A pulsing breath-like tone is most prominent, as well as a fluid sound, wet and dripping. I can't help but imagine Lovecraftian caves as I listen to it, an image very much at odds with the title, but of course that sort of shift in perception only adds to the track's appeal.

Title track "Timeless" does a fabulous job of creating a sparse and still environment for the listener to discover over the course of it's almost thirteen minute length. For the first few minutes of the track, tones play quietly, rising in volume, coming to the surface and then quickly fading away again into silence. As the track progresses, a climax is reached with sounds weaving in and around each other until eventually a dense wave of sound emerges, a shifting kaleidoscope of tones that takes us through to the end of the track. Very impressive.

"I Will Forget" has a particular size and grandeur about it, the sound of an epic expanse achieved through a minimal amount of tones. Lush synth lines fill the space in a vaguely melodic pattern with slight found sound accompaniment. It's an impressive track, a testimony to Kerby's ability to create a space so effectively with so few elements.

"We Ought Not To Be Awake" has a sense of menace and foreboding about it. Oblique motion is created through the pairing of a steady tone with sweeping pads that ebb and flow, and occasional metallic elements that shimmer through the track adding a certain air of mystery to the proceedings. It's a nice study in tension, a beautifully haunting track that stays with the listener.

"Suspension of Belief" uses strings to create a melancholy flavor that plays around a constant tone. A cascading wall of sound rises up out of the track, adding an aural focal point around which all other sounds are anchored. Eventually a certain space-y element develops in the track, a sense of travel and movement through the stars that brings to mind the work of Sylken, Numina and others. Very nice.

"The Slow Way" is a short piece, almost over before it begins. A deep drone paired with a thick synth line plays the same minimal melody overtop a wash of sound. The end result is really very nice, a subtle yet effective sonice study.

"Starlight" is even shorter, a tiny space-y musical amuse bouche that manages to squeeze an intense amount of melody into a very short space. Very nice.

"Memory Balance" closes the disc, a thick horn-like swell rising and falling throughout. It's a beautiful way to end everything, a fitting summation of the disc that revisits elements of space and sound and everything else captured within the earlier tracks on the disc.

As always, Kerby's work is a satisfying and engaging musical experience that impresses and delights. The music on "Timeless" does an excellent job of creating spaces for consideration in which the listener can be drawn in to listen as actively as they choose. I would suggest paying close attention to "Timeless", I can say from experience that Kerby's music will respond in kind.

rik - ping things

"Sterility" by Methadrone

noreply@blogger.com (mara's torment) — Sun, 21 Sep 2008 23:52:00 +0000

Dark and emotional work from Methadrone.

Buy "Sterility" by Methadrone at ping things!

Fans of drone-based dark ambience will want to check out "Sterility", a brand new release from Craig Pillard performing as Methadrone. I've been a fan of Pillard's music for some time now, having first heard of him through a split release with Nadja, and I've always appreciated the thick wall of sound that lies at the heart of his work. Building and expanding on the project's bass heavy dark ambience, "Sterility" introduces new elements to the Methadrone sound, resulting in a warm and engaging collection of music that stands as some of the projects best work.

The disc opens with title track "Sterility", a dark piece that sets the tone for the rest of the set with a grinding drone paired with the steady strum of an acoustic guitar. There's a particularly mournful quality to the track, a feeling of loss and emptiness forshadowing dark endings to come. Yet at the heart of it, there's also a sense of hope, a melodicism that suggests a reason for being despite the darkness. An impressive opening.

Track two, "Self-Relinquishment", features vocals by David Galas, formerly of Lycia, his voice a deep baritone that brings to mind Michael Gira's work with Swans. Deep and heavy in all the right places, "Self-Relinquishment" is a stunning track that reveals greater depths with repeated listens, standing out as one of the strongest tracks on the disc

"Servitude" follows, a largely guitar driven pattern that loops and repeats and circles around itself. It's an ominous and brooding track, one of the darkest on the album. This is of course a good thing.

"Continuum of Decline" sees a return of Galas' vocals, a slow moving funeral dirge of a song where Galas' distorted voice adds an extra element of darkness. A heavy bass drone playing underneath the guitar gives substantial depth to this track.

"Bury Me Standing" blends near apocalyptic drum explosions with an acoustic guitar, a looping track that creates an air of suspense and menace throughout. Without doubt a track that inspires a level of foreboding and fear, putting some extra dark in the term dark ambient.

"Horizone" offers a little light to the proceedings, a sound brought about through processed guitars that bring the Projekt label to mind. Dark vocal choruses play throughout accompanied by powerful drums much like "Bury Me Standing" before it, but somehow "Horizone" creates a sense of hope and possibility rather than the unsettling nature of eariler tracks.

"Lassitude" blends drones and acoustic guitar in a dark and apocalyptic way. Very nice, very dark and folky. In keeping with the title there's a sense of weariness to the track, a feeling of coming to the end of the road, with just enough energy to make it to the end but only barely.

"Final Transmission" closes out the disc, a fuzz driven, feedback laden wall of sound that reminds me of earlier work from Methadrone. It's an epic track, one that stretches out over the course of almost seventeen minutes, sounding big and expansive and altogether awesome.

Without question "Sterility" is a fantastic release that successfully blends deep thick walls of sound with acoustic guitar and other instrumentation, resulting in an intriguing study in apocalyptic styles. I'm most impressed by this development in Methadrone's sound and I very much look forward to seeing where it takes the project in the future. I'm quite sure I'll continue to be impressed.

rik - ping things

"XV" by The Machine in the Garden

noreply@blogger.com (mara's torment) — Sun, 21 Sep 2008 11:22:00 +0000

I've always thought that anniversaries should be cause for celebration. They're an important way to mark the passing of time, a way to show what's been accomplished and to look towards new goals and purposes. I also think that Summer Bowman and Roger Frace of The Machine in the Garden might feel similarly, as their latest release "XV" collects work from the first fifteen years of the band, a retrospective that draws from demos, alternate versions and unreleased tracks to show the history of one of the Darkwave genre's foremost bands.

The disc opens with the new song "Mental Wasteland", an uptempo track that blends
electronic flourishes with Roger's distinct guitar work. Summer uses a couple of vocal styles on this one, showcasing both a breathy and sensual approach and a more aggressive rockin' voice. The facility with which she switches between the two is a fine example of her control and technique, plus it sounds really cool in the mix. An excellent way to start the disc.

"Wonderland" has always been one of my favorite tracks by the band, and the new Mad Hatter mix presented here is an impressive take on an old favorite. Adding pulsing synths, sizzling stabs and some really nice electronic percussion, the track is given a whole new sound that revitalizes and impresses. It's interesting to note that despite the radical reworking of the track, Summer's vocals remain largely unchanged from the original, because admittedly, you don't want to mess with perfection.

"Oblican (Eire Mix)" is a shorter track, one recorded before Summer joined the band, featuring Roger on vocals. There's a sense of urgency and significance to this track, conjuring a feeling of being on a precipice looking off into a vast dark expanse. A really strong moment from the earliest days of the band.

The tribal sound of "Six Days" is up next, blending some fascinating percussion work with Summer's voice. There's some very tasteful multi-tracking work done here that give a particularly thick and deep sound to the vocals, a sound that's very much in keeping with the suggestion of ritual that permeates the track. Very impressive.

The Shades of Grey remix of "Mantra" adopts an appealing dance floor swagger, resplendent in a slick 303-y sound that pulsates and spins quite nicely. It stops and starts and moves in all the right ways, truly capturing the sound of a late night strobe after hours of dancing, around about that point where it makes far more sense to keep going until dawn than to stop. I'm sure you know the point that I'm talking about.

"Words in Heaven Lost (Get Out of This Remix)" replaces the original's instrumental track with a pulsing synth line that both compliments and highlights Summer's vocal skills. An interesting take on a song that I've always seen as one of the band's signature tunes.

The original demo version of "Ex Oblivione" is up next, a different mix from the one found on "One Winter's Night". I've always had a soft spot in my heart for this track, as it played a significant part in the playlist of a particularly doomed romance I had a number of years ago. In keeping with that idea, I find it amusing to read in the disc's liner notes that the track was originally written to be part of an HP Lovecraft tribute. I wonder what that says about me? I think I know what it says about the associated doomed romance...

"Dawn (On the Rocks Mix)" is a beautiful remix of the track from Asphodel, adding electronic elements into what is originally a very delicate and sparse piano and vocals piece. Normally I'd be wary of such a radical change, but here it's done skillfully and tastefully, offering an appealing alternate interpretation that builds and compliments on the original very nicely.

"Every Thing She Is (Original Demo)" works nicely in a stripped down acoustic form, using a particularly scratchy guitar sound that adds to the intimacy of the track. Summer's voice is in fine form here, reaching soaring heights that other less talented singers could only dream of. Wonderful stuff that shows the essence of a great song can be found however it's performed.

"Voice" is a previously unreleased track recorded during the Asphodel sessions featuring Roger on vocals, a track that shares a conceptual linkage with the earlier "Oblican", also featuring Roger's voice. The two tracks share a sense of urgency, but of the two "Voice" has a much more clearly defined style in keeping with the duo's current output. A wonderful track that stands as a personal favorite on this collection.

The band's cover of the Sisters of Mercy classic "On The Wire" is brilliant, a haunted piano line and the requisite drum machine creating the perfect background to Summer's vocals. I know some might see this as heresy to suggest, but I think that I like this version more than the original by Eldritch and company. There's something a little more sincere in the delivery here, an honesty that replaces the swagger and stomp of the Sisters' original and puts the song in a whole new and more engaging light. Credit to Summer and Roger for creating that rare instance where a cover version finds it's own distinct identity from the original.

"Nowhere" is a short piece, coming in at just over a minute long, a musical haiku if you will. Previously unreleased, it's a succinct track with Summer on vocals and guitar that I quite enjoy. I'd say more, but then my comments would be longer than the song itself.

"Walls" is another early track from the period between the Veils and Shadows EP and the Underworld disc. There's an interesting lyrical structure at play here, explained in the liner notes as each verse describing the same scene at different times, a structure that works quite well in capturing a mood and ideal.

Penultimate track "Corpus Christi" gets a tasty Matrix remix treatment, all synth stabby and tight percussionny and dancefloor stompy. I find myself tapping my foot and bobbing my head with this one. Can you blame me?

"Otherworld" closes the disc, the second new track recorded especially for this compilation. I find the repeated lyric "On the other side of time" particularly appropriate in this context, a fitting close to a disc spanning fifteen years of the duo's history. Certainly if this track is any indication, then The Machine in the Garden has a very rich and interesting future yet to come.

I'd like to think that as the years pass and the number of anniversaries grow, we gain a greater understanding of who we are and what we've done. Listening to "XV", there's no question in my mind that The Machine in the Garden have released some fantastic music that crosses a wide spectrum of styles, while always maintaining a strong sense of personality and integrity. "XV" is a wonderful summation of the work that the band has made over the last few years, while simultaneously hinting at things to come. After listening to the first part of their history, you can be sure that I'll still be paying very close attention to The Machine in the Garden over the next fifteen years as well.

rik - ping things

"Behind the Seen" by Phil Ogison

noreply@blogger.com (mara's torment) — Mon, 15 Sep 2008 10:23:00 +0000

A wonderful new release from Phil Ogison, featuring four inspired pieces.

Buy "Behind the Seen" by Phil Ogison at ping things!

Regular visitors to ping things will no doubt be familiar with the work of Phil Ogison in a variety of different guises. Whether you know him as a solo artist under the name The Devil in the Design, or collaboratively as part of Subduction Current, A Pretty Sonic Splatter or Harold, Phil is among the most prolific artists in the ping things catalog, consistently releasing quality music that displays equal parts creativity and technical ability. On his latest release, "Behind the Seen", Phil lives up to and surpasses what we've come to expect from him, proving once again that his reputation is well-warranted.

"Conversation with the half-world" opens the disc with a repeated arpeggio doodle, and vaguely Frippertronic-esque guitar work over top a swelling pad. It's quite an engaging opener, something that works rather nicely to set the tone of the disc, a sense of mystery and mysticism, a feeling of drama, tension and secrets being revealed.

"History is Made" uses cataclysmic future shock samples to introduce the track, short loops spinning around a vaguely militaristic melody. Very much in keeping with the drama that has been set by the previous track, "History is Made" builds very effectively on an established feeling of theatricality. Haunting laughter adds a sense of darkness, and the track as a whole leaves me with an uneasy feeling. Don't worry though, I kind of like that unease... About halfway through, the track's established elements give way to a fine example of sequenced Seventies synth work winding around and through some very tasteful guitar work from Mr. Ogison, leading into a more musique concrete flavored third segment comprised of samples and found sounds. Certainly an impressive track and a true highlight of the disc.

The title track "Behind the Seen" follows, a ritualistic piece where steady percussion lays a framework for a slightly menacing orchestral sound. I can't help but feel there's a ceremonial aspect to the piece, a rite to be performed while listening. Very moody, very impressive.

"Isles of Density" closes the disc, a bright and optimistic track that brings a certain level of brightness to balance the previous tracks darkness and menace. Sounds weave and play around each other, looping and circling tones that surround the listener. There's a certain humor to the track, an impish glee that seems fitting for Phil's work. An excellent close to an excellent disc.

Throughout "Behind the Seen" Phil maintains a level of theatricality and tension that translates well to the listener, maintaining interest and moving the disc along to a satisfying and appealing closure. Without question, Phil has raised the bar with this release, setting a new standard by which his future work will be compared. "Behind the Seen" comes highly recommended from ping things.

rik - ping things

people are listening to ping things...

noreply@blogger.com (mara's torment) — Thu, 11 Sep 2008 19:28:00 +0000

Just wanted to bring your attention to two places where ping things releases have been noticed...

Nunc Stans "Land" was mentioned at the Hiddenplace Music blog, where it was noted as "excellent ambient music". I couldn't agree more!

And I'm pleased to see that Phil Ogison's track Biosingularity taken from "The Perfect City" was played on the September 7th edition of Scott Raymond's awesome Secret Music radio show (visit www.wvkr.org to listen live Sunday mornings from 9am to 12noon EST).

join the ping things community at ning.com

noreply@blogger.com (mara's torment) — Fri, 05 Sep 2008 10:52:00 +0000

Just a reminder to join the ping things community at ning.com

Create profile pages to post your own blogs, music, photos and videos, chat with like-minded musical fans in forums, promote your work and make new fans, and be part of a community that loves music just as much as you do!

Interested in what's happening in the ping things community right now?

Check out James Johnson's blog where he describes his work on creating a "Green" studio.

Check out videos by Phil Ogison.

Check out photos by Subduction Current.

All this and tons more to see and hear!