Artists:

• Androcell
• Cell
• Asura
• Aes Dana
• Distant System
• Solar Fields

Album: Vital Signs
Format: CD (Digipak)

Label: Celestial Dragon Records
Catalog #: CDREC-18
Release Date: 03/17/10

Vital Signs

Tracks:

1. Androcell – Atmos-spheres (Human mix)
2. Androcell – Vital Signs
3. Cell – Body Temperature
4. Asura – Blood Pressure
5. Aes Dana – Pulse Rate
6. Distant System – Pupillary Response
7. Solar Fields – Respiratory Rate
8. Androcell – Neurosomatic Circuit (Brain Waves Mix)

Total Time: 61:14

Celestial Dragon Records is now out with their latest compilation titled Vital Signs and is the project of Tyler Smith of Androcell and Distant System fame.  It’s definitely his personal pet project as half of the tracks are his: three Androcell tracks and a Distant System.  He’s also gathered four of the biggest names in the genre to round out the album.  I went ahead and ripped this straight from the label’s website because I can’t think of a better way to state the compilation’s concept:

Vital Signs is a concept compilation comprised of tracks that were custom created for this project by renown artists such as Aes Dana, Asura, Solar Fields, Cell, Androcell, and Distant System. Each artist was carefully chosen and assigned a specific track title/theme to interpret the essence of their “vital sign” through the sonic medium. Title assignments were based according to each artist’s individual music style. Together, like the modular structure of sub-systems in the body, the tracks function as an interconnected unit which depend on each other to complete the whole. Each “vital sign” serving as a reminder that these systems are operating and we are alive.

There you have it, on to the tracks.

#1 – Androcell – Atmos-spheres (Human Mix)

“Atmos-spheres (Human Mix)” is a remix of track #3 off of his Efflorescence album.  It is, of course, very reminiscent of the original track but it’s a lot more chilled down and the sample from Star Wars (“You truly belong here with us among the clouds”) has been taken out, which is probably pretty smart.  I laughed the first time I heard it on the album and was surprised it was even used.  The song begins with the same flute line as the original and it feels like returning to the memories of hearing that track the first time.  And the track also features the same psychedelic meandering sounds Androcell is famous for, sounds that circle the listener and which help give the song it’s definite movement forward.  My favorite part occurs around the 4:30 mark when the melody of the song is played on guitar with some nice reverb.  It’s a nice change from the original track and fits nicely with the overall direction of the remix.  It’s definitely not as unique as the Efflorescence track but it still requires close and multiple listenings as there’s lots going on.  (8/10)

#2 – Androcell – Vital Signs

“Vital Signs” is the first non-remix Androcell track since Seahorse Dreams on Altar Records “Water” compilation.  It starts off beat-less and ambient for about a minute until the first rhythmic sounds come in followed by harder beats forty seconds later.  Halfway through is some gorgeous pad, piano, and plucked bass work that moves us onto the rest of the track.  I really don’t have much to say for this track.  It’s a beautiful track that really doesn’t have that one defining moment that makes me stop what I’m doing and exclaim, “Wow, that was nice.”  It’s not a bad track at all, it’s actually a really good track.  It seems to be the track that all the other tracks will play off of so it doesn’t feature a lot of uniqueness.  This also seems to make sense since it’s the title track and if we take the line from Celestial Dragon’s blurb about the album in general: “Together, like the modular structure of sub-systems in the body, the tracks function as an interconnected unit which depend on each other to complete the whole.”  (8/10)

#3 – Cell – Body Temperature

Here’s the first non-Androcell track of the album.  This time it’s Cell with “Body Temperature” and follows along in the same style as his latest full-length release on Ultimae, Hanging Masses.  I was sort of dismayed, I’ll admit, when I heard the album as it lacked any of the ethnic samples, instruments, and general sounds of his debut album, Phonic Peace.  It was very much an Ultimae release and the style is repeated here on “Body Temperature”.  The track features a steady beat and pad work, a rolling bassline, and some soft and pretty melodies happening just below the surface.  It gets a bit interested about halfway through where we’re treated to an emotional synth line.  But like the previous track, there’s nothing wrong at all with the track, it’s what you’d expect from Cell, especially his latest style, but there isn’t that one defining moment in the track that sets it apart from the first two or any of the tracks to follow.  I hope I’m not coming off as stating I think these tracks are boring or uninspired because they’re not, but for me personally, they just lack that one magic moment. (7/10)

#4 – Asura – Blood Pressure

Thankfully, Asura comes in next with the most unique sounding track of the entire album and one of the most unique I’ve heard in a long time, “Blood Pressure”.  This track has something interesting going on throughout the entire piece and is the first song that made me play it again as soon as it was finished. The beats are static-laced, the synth work is somewhat harsh but fits perfectly and constantly swirls around the sound field.  It’s a must for headphone usage.  There’s also a very noticeable use of breathing which also works well where it is placed.  What I love about this track is the sense of movement.  It never seems to waver or get lost in where it wants to go.  Every sound works well and makes sense for being where it is.  It’s also the first track where the title perfectly fits the music.  The sense of buildup and the use of the breathing sounds make it feel as if the listener really is experiencing an elevation in blood pressure.  This is the track of the album for sure and one that I’ll be playing for awhile.  (10/10)

#5 – Aes Dana – Pulse Rate

Aes Dana’s track “Pulse Rate” begins very reminiscent of a Distant System track and initially I thought it was.  The following track, however is the Distant System track.  This song features a steady beat, obviously mimicking the idea of the track, that of the body’s rate of pulse.  The song also features a haunting atmospheric pad happening in the background which gives it a mysterious and wondering feeling.  It’s very soothing but keeps your attention.  About halfway through the steady beat drops and a clicky rhythm and pad play for a bit.  It’s very spacey and leaves the listener wondering when the 4/4 beat will come back.  The kick drum reappears and around the 3:50 mark, taking us into the latter half of the track.  The track ends on the beginning of “Pupillary Response”.  “Pulse Rate” is an outstanding track that fits nicely with Asura’s preceding track.  (8/10)

#6 – Distant System – Pupillary Response

The other half of Tyler Smith’s projects, Distant System, comes next with the track, “Pupillary Response”.  This is much different sounding than the album Spiral Empire and it’s a welcome change, which is not to say that Spiral Empire needed work or to be changed at all, it’s actually my top album of 2008.  But for this track the hard driving beats and basslines are toned down a bit and the melodies and synths are allowed space to drift around the listener while still being firmly grounded by the steady beat.  And of course the entire track is filled with psychedelic space sounds that constantly swerve and spin in all audible directions.  About halfway through we get the first true Distant System sounds everyone who’s heard the album will be accustomed to.  This is probably the second best track of the six so far. (9/10)

#7 – Solar Fields – Respiratory Rate

Track seven is from the mighty Solar Fields.  I will admit that this is the track I wanted to hear most as I am a huge fan of anything out of the Magnus Birgersson project.  The track starts off very ethereal and very subtlety the sound of breathing gets louder and louder, giving substance to the name of the track itself.  It’s also got some machine beeping going on as if the person breathing on the track is hooked up to some machinery.  The first notes of the song start around the 1:30 mark while the rhythm of the track also slowly but methodically builds and builds until about the 3:00 mark the song finally takes off.  This is definitely a Solar Fields track now!  My favorite part of the track begins around 4:30 with a stringed instrument plucked into a playful melody that will play the remaining third of the track.   At the end the beat falls away and we drift seamlessly into the final track of the album. (9/10)

#8 – Androcell – Neurosomatic Circuit (Brain Waves Mix)

This too was off of the Androcell Efflorescence album and was one of my favorites of that album, not only because it’s a killer track but because it samples heavily from the renegade author/philosopher Robert Anton Wilson.  And unlike the Star Wars clip, Androcell has chosen to rekindle one of the samples from the original track into this remix and I’m happy he choose to do it because it keeps the spirit of the original intact.  I also really enjoy the change of voice samples in this track as they’re a lot more airy and breathy but still feel grounded in the original.  This is an incredible remix and ends the album perfectly.  I’ve actually never been a fan of artists remixing their own tracks, but on these two tracks that bookend the compilation, Smith has created what I feel can be described as an alternate listening reality, where it really feels like either of these two remixes could have been on Efflorescence and would’ve worked fine, but they’re not, they’re here on this album, four years later and the sense of maturity is more than apparent.  I’ve actually had to go back and listen to both the originals and remixes many times and this has only improved my impressions of the remixes. (10/10)

I’ll wrap this review up quickly.  If you’re a fan of any of the artists on this album, you’re already probably listening to it, so I don’t need to recommend this to you.  For those of you who aren’t familiar with the work of these artists and Androcell’s work specifically, stop reading this and go get this compilation.  It’s the release of 2010 so far and one that I haven’t stopped listening to in the eight days I’ve had it.  GO BUY IT.

Top 3 Tracks:

1. Asura – Blood Pressure
2. Distant System – Pupillary Response
3. Androcell – Neurosomatic Circuit (Brain Waves Mix)

Purchase @:

Saikosounds
Psyshop

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In your second album, Efflorescence, you sample frequently from talks by Terence McKenna and Robert Anton Wilson. They are obvious inspirations to you. Could you please talk more about their influence on your life and music? How did you come across their work?
I first discovered Terence 10 years ago when I bought a TRP Magazine (now defunct) and it featured a James Kent interview with him. I became pretty intersected in what I read so like any curious mind I started picking up his books and my enthusiasm grew from there. It’s a shame a lot of his work was destroyed.
I was turned on to Robert Anton Wilson more recently in 2004 by a friend. Much like Terence, I found Bob’s ideas to be immensely astute and mentally exciting. I don’t look to these individuals that they had the answers. They just asked great questions and could articulately expound to almost no end on their ideas about possible answers to said questions. For that, I really appreciated how their minds worked. The ideas they posed are illuminating in so many aspects. They were individuals with great breadth of view.

You also have a second project known as Distant System. It’s very different from your work as Androcell. Where Androcell seems to be very earthy and focused within, due to its heady and psychedelic influences, Distant System seems more focused on the outer realms of the universe. Could you please talk about the Distant System project and how it is different from Androcell?
Distant System is definitely, as you say, “focused on the outer realms of the universe”. It is a space, science, and space technology influenced project. Being a lifelong fan of sci-fi, star travel is one motif that has always been influential in my life ever since I can remember. I think my imagination has been so sparked by outer space and our potential place in it, that I need to capture my own expressions and interpretations of what is possibly to be. The sound of Distant System is like an aural starship that transports my imagination to sense the experience.
Androcell project derives from planetary existence and the human experience inside and outside ourselves. Metaphysical, psychedelic, and mystical themes are used sporadically. I guess it is a musical nod to all that is strange and lovely about us, our world, our cultures, and the multitude of experiences therein. I’m merely transmogrifying musical cultures throughout the world to try and create an enjoyable time for the human experiencer. The computer not only makes this so very possible but highly entertaining for me in creating abounding musical emotions. Not everyone agrees with this style but I’ve personally had some of the most enjoyable experiences in my life to this type of music.

Read the entire interview at Chillbase.

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Artist: Field Rotation
Album: Licht und Schatten
Format: CD (Limited Edition)
Label: Fluid Audio
Catalog #: fluidaudio002
Release Date: 10/26/09

Licht und Schatten

Tracks:

1. Abendrot (9:09)
2. Polarlicht (11:00)
3. Lichtermeer (6:44)
4. Lichtbrechung (7:08)
5. Mondfinsternis (8:29)
6. Tiefflug (9:14)
7. Schlafwandler (5:16)

Total Time: 57:00

Field Rotation is Christoph Berg of Kiel, Germany.  Licht und Schatten is his first label release, and is the second release on Fluid Audio after the Hope compilation.  This EP spans seven tracks and is a trip to the softer, slower, melodic side of electronic music.  It’s really a beautiful piece of music that incorporates not only electronic sound manipulation and programming but also utilizes a few instruments.  It all adds up to a well-crafted and well-made album that just might be the perfect music to play as you find your day coming to a close.  I’m also writing this deep into the night, as a major snowstorm buries the city in two feet of snow.  It’s rather fitting.

On to the tracks:

#1 – Abendrot (“Sunset”)

Track 1 starts off with a mournful sounding pad that swirls smoothly and lightly around the sound field, opening up the mind and freeing you of your expectations of what’s to come.  A few melodic notes sprinkle in but are gone as quickly as they showed up and the pads continue.  The same notes come in again but this time on some strings but they too are gone just as soon as they show up.  We then hear a melancholy guitar melody softly begin to play but again, gone, only after a few bars.  The first beats of the track then come in and not surprisingly, they too don’t stay around for long, maybe a minute or so.  Around 4:50 we get the first bass of the track and the guitar resurfaces.  By now I’m hooked on this track.  It’s relaxing and moving at the same time.  It reminds me of some realization I once had of more happier times coming to an end but not being sad about it because it’s now time for reflection.  The track finally hits its groove  around the 7:30 mark.  It’s the sun releasing it’s last rays of the day for this side of the earth but it’s not going quietly.  The rhythm fades out and the sun is now gone.  It’s now dusk and I’m not sure whether to feel sad or not but I’m definitely liking this opening track.

#2 – Polarlicht (“Polar Lights”)

Track 2 is the longest track of the EP and starts off rather foreboding with a dark pad and some heavily-reverbed individual percussion but we are saved when the soft beat and soft warbling bass comes in. We then hear a sample of a child and some piano in the background. The beat then really takes off with addition of a lighter pad. A pleasing melody line develops and plays for an extended period of time, unlike the previous track. A third of the way through the song and we are now getting some left and right channel based pads morphing around with the addition of some effected pianos. The bass line that’s been playing throughout is then given some time on it’s own and the listener is now left to wonder what’s next. The beat is what’s next as it returns with the same pad. At 5:37 we are now completely immersed in the track as a simple but effective melody rotates around the entire sound field, alternating volume as it proceeds. The same percussion hits from the beginning of the track return as well as the foreboding pad, but only briefly and the track comes to a close.

#3 – Lichtermeer (“Sea of Lights”)

Track 3 immediately begins with a clicky beat and pad, something different than the first two tracks.  It’s a good change.  The beats are light and glitchy and circle the sound space.  A piano note hits sporadically maintaining a sense of movement and direction.  Everything in this track so far is nice and soft, can definitely feel the sea of lights here.  Two minutes in and the bass drops out and all we have is the pad and the glitch beat, a definite sense of mystery occurs until the bass comes back in and we’re moving again.  The return of the bass line signals a slight increase in tempo which brings us to the last third of the track.  The same elements repeat until the track gracefully fades out.  Three tracks down and I am now fully immersed in the style and mood of the album. It’s definitely emotional but that’s not a bad thing at all. Isn’t this why we listen to music? To be moved somehow?

#4 – Lichtbrechung (“Refraction of Light”)

Another ominous and foreboding opening!  Sinister and mysterious pad and what seems to be some cello work too adds to the mystery.  But like many times in the album it doesn’t last long however and after a second or two of actual silence, a warmer pad and soft beat come in, completely changing the tone of the track.  Around the 2:34 mark we got some interesting play between strings, pads, and a piano with some serious pitch bend.  It’s neither warm nor cold, ominous or inviting, just curiously interesting, maybe even inviting.  A steady beat carries us through the song while the occasional pad and random sound effect happens all around.  The track then accelerates into a definite heaving or pulsating feel. It’s the most interesting part of the song and I like where we’re at right now. Near the end of the track, 6:42 to be exact, the beats and the pulsating pads that had been playing for the majority of the track vanish and are replaced by some heavy reverb’ed simpler patterns and then the track quickly fades out. This is a beautiful track, one that commands multiple listens.

#5 – Mondfinsternis (“Lunar Eclipse”)

A short piano line begins this track 5, joined with some violin and an airy and floaty pad. A sample, which is from a mission control somewhere, plays its part, giving the beginning a somewhat spacey feel. The song kicks into a glitchy beat around 1:40 and a darker pad plays behind it. I find myself actually drifting off into my own head here. The recollection of long ago memories from track 1 have resurfaced. I come back to the track and it’s still glitching along as if I never left. How long was I gone and how the hell did that happen? I love it. Great work here.

#6 – Tiefflug (“Low-level Flight”)

This track is the most active and alive of the entire album and is probably my favorite.  There’s a constant beat throughout most of it, has a great positive atmosphere and, based on the title alone, wants us to feel as if we’ve lifted ourselves out of any depression we may have found ourselves in at the beginning. The reverb work at the end gives an even grander sense of ascension and celebration of having made it through.

#7 – Schlafwandler (“Sleepwalker”)

The last track begins on a positive note, the first one of the entire album. Processed samples of footsteps and a gorgeous guitar play throughout. I was reminded of the film Waking Life throughout this entire song, not the soundtrack to the movie but the actual move instead. The ideas, thoughts, and emotions I experienced as I watched the movie for the first time flooded my memory. It reminded me of one of the ideas presented in the movie, the idea of the dreamer:

I haven’t seen too many around lately. Things have been tough lately for dreamers. They say dreaming is dead, no one does it anymore. It’s not dead it’s just that it’s been forgotten, removed from our language. Nobody teaches it so nobody knows it exists. The dreamer is banished to obscurity. Well, I’m trying to change all that, and I hope you are too. By dreaming, every day. Dreaming with our hands and dreaming with our minds. Our planet is facing the greatest problems it’s ever faced, ever. So whatever you do, don’t be bored, this is absolutely the most exciting time we could have possibly hoped to be alive. And things are just starting.

The track finishes with a rather somber not but it’s still somewhat positive and hopeful. A somber positivity? It’s as if the message is “Yes, humanity has done some wonderful things but imagine where we could be.” The last ten seconds of the album are pure silence, a great way to end the album and the trip it took us on, all under an hour.

This album is a welcome sigh of relief in the electronic music world. The fusion of acoustic instruments with electronics gives it a fresh, 21st century appeal and almost sounds as if, at times, there’s more than one musician playing. The obvious care that went into every facet of this EP is obvious and appreciated. I would recommend this to anyone who’s already a fan of electronic ambient and to those that like their music in a bit more “classical” or instrument-driven. Be prepared to go spelunking around in your head a bit, remembering both good and bad memories (light and shadow, get it?), but don’t let that turn you off, you can just listen to the music too. It’s really an incredible journey that slips just under an hour. Surely you have an hour?

Top 3 Tracks:

1. Tiefflug
2. Schlafwandler
3. Mondfinsternis

External Links

Field Rotation: http://www.fieldrotation.de/
Discogs: http://www.discogs.com/artist/Field+Rotation
Fluid Audio: http://www.fluidaudio.co.uk/

Purchase:

Fluid Audio (Limited Edition) (hurry, 100 copies only!)
Fluid Audio (Digital) (four full-tracks previews)

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Artists:

• Paddy Free
• Sounds From The Ground
• Pitch Black
• Third Ear Audio
• Warp Technique
• Capsula
• International Observer
• Hoehle
• Hanfstengel
• Master Margherita

Album: Waveform Transmissions Volume Two
Format: CD (Digipak)
Label: Waveforum Records
Catalog #: WAV 09102-2
Release Date: 10/13/09

Waveform Transmissions Volume Two

Tracks:

1. Paddy Free – Lali (5:10)
2. Sounds From The Ground – Wicked Flow (5:32)
3. Pitch Black – Transient Transmission (5:48)
4. Third Ear Audio – Up In Smoke (7:03)
5. Warp Technique – Wonderland (8:07)
6. Capsula – I Still Know That I Know (7:05)
7. International Observer – Quiet Please (4:54)
8. Hoehle – Why Me (4:26)
9. Hanfstengel – Big Fish (Winter Mix) (5:08)
10. Master Margherita – Antaris (10:17)

Total Time: 63:48

Waveform Records is out with their second psychedelic-dub-infused compilation, Waveform Transmissions Volume Two.  It features some of the biggest names in psychedelic dub music as well as some brand new artists that I’ve never heard of before.  The many different styles of dub are represented fairly here, I think, and the listener is bound to find a personal gem among the 10 tracks.

So dim the couch-side lamp, take a hit or seven and let’s begin…

#1 – Paddy Free – Lali

Paddy Free is a member of New Zealand dub act, Pitch Black, who also have a track on this compilation. After perusing his Discogs page a bit, he’s remixed Salmonella Dub tracks, a dub band also from New Zealand.  He also has his own full-length album.  The track begins with a pulsating pad and a shaker comes in a few seconds later beginning the beat of the track.  The pad swirls slowly the sound field as the first drums come in.  The bass line oozes into the track at the 1-minute mark and plays throughout most of the track, as any quality psy-dub track should.  It finally peters out around 4:05 and the beat follows at 4:40.  The rest of the sounds fade out at the end.  The track is a fine opener to the album.  Nothing much goes on in it, to be honest, but it does feel like an opener:  it gets you ready for the styles to come, but is definitely not a show-stopper.  It’s not a bad track at all but when heard the fourth or fifth time through, it’s definitely got nothing on the following tracks.  (7/10)

#2 – Sounds From The Ground – Wicked Flow

Sounds From The Ground have been a mainstay of Waveform Records, who have released four SFTG albums and a variety of singles since 1996.  For me, Wicked Flow is where the album truly begins.  The track fades up with a funky, reverbed beat already in mid-session.  It immediately has a groove and movement that makes you want to hear where the track is going to finish.  The bass line is hairy and groovy and there’s a lot of sounds spliced in that not only carry the track forward but engage your brain as well.  It’s an aural puzzle that needs careful attention.  The track really takes off when the slow melody line drifts in.  I immediately get the internal picture of an alien surfing in slow motion across a fluorescent green ocean on some distant planet.  It has a good and otherworldly vibe that works really well.  There’s some vocals too and they’re saying “Wicked Flow”, but there’s a lot of effects on them which also gives an otherworldly feel and at first I didn’t hear what it said.  Another melody comes in around 4:20 which takes to the last part of the song.  The song slowly fades out.  This is a great track in my opinion, filled with a great beat, beautiful melodies and a moving bass line.  It’s not however very psychedelic, but that’s not a problem at all, those tracks will be coming later.  (8/10)

#3 – Pitch Black – Transient Transmission

Pitch Black is one of the biggest names in psychedelic dub music.  They’ve released a multitude of albums and remixes and have singles on many compilations.  Just take a look at their Discogs page for all their information.  Their track, Transient Transmission, is a slower, marauding track whose focus is definitely the bass.  It’s deep and pulsates throughout the entire piece.  This is definite subwoofer material here and is exactly what I think of when I think electronic dub.  The track starts off rather innocently but methodically builds and builds, with beats and organ stabs that have some reverb.  Then the bass comes in and the song is now officially underway.  A gentle pad is heard in the background and the beat kicks into high gear around the 2-minute mark.  It’s also here that we get the first samples of the track and the beat that plays behind gets more complex.  I am now completely in the track and lost in its groove.  It’s intelligent and interesting and I feel myself physically in the song.  It’s easily the best track of the first third of the album.  We then get another interesting sample that adds another layer to the track around 4:00, and repeats the rest of the album.  I have no idea what it’s saying and I don’t need to, it’s simply apart of the track and just works.  I like this track a lot. (9/10)

#4 – Third Ear Audio – Up In Smoke

Next up is a track off of Third Ear Audio’s self-titled debut release.  If you haven’t heard this album yet go ahead and quit reading this review and find and purchase their album.  It’s cool, I won’t be upset or pissed, I’ll understand.  It really is that good…

Now that you’ve gone ahead and purchased the album, let me talk about the track on this compilation.  This is the very definition of psychedelic dub in my opinion.  Something is constantly happening in this track.  There’s always a unique sound happening somewhere in the listening space and it’s almost always psychedelic.  It makes me wonder what this track will sound like while in a chemically altered state.

The track starts with some stabs with some wicked and long-lasting reverb.  The space is huge and the sounds begin in each channel almost immediately.  The ride has begun!  Then one of the most interesting aspects of the track comes out and that’s what I take to be a small amount of beat boxing placed perfectly over the beat.  Sounds are whirring and buzzing in all directions and then the track slides into the second third of the song.  The bass comes rolling in, the psychedelic sounds increase, the pad in the background adds another dimension and we even get a hint of guitar maybe around 2:30.  This is definitely my kind of music.  We then hear a sample from the pot maestros themselves, Cheech and Chong.  It’s a hilarious sample and really adds to the playful but still trippy nature of the track.

The beat-boxing returns along with the squelching sound effects and throbbing, melodic bass lines.  And then we get a beautiful horn section play a line or two and another sample of a Rastafarian robot plays.  This gets played upon more on Third Ear Audio’s album.  See now why you should get it?  Hint:  Checkout the track “Jamaican Robot” on that album.  The track comes to a close with solely the bass and psychedelic sounds playing, which spiral out to infinity and then fade away.  What a track!  (10/10)

#5 – Warp Technique – Wonderland

Ready for some more embarrassing praise coming out of my fingertips?  How about easily one of my favorite acts of the last 2-3 years, Warp Techniqure and their track Wonderland?  It’s on their debut release, Make Animals Happy, and is actually titled Wonderland Dub on it.  Not sure if the dropping of “Dub” is intentional or not, but who cares, right?  It’s about the music.  And Warp Technique knows how to make a track.

This and Capsula’s track, which is next are tied for my favorite tracks on the album.  Wonderland begins with the sound of thunder and various effects until the bass line meanders in about 30 seconds in.  The bass line itself is the signature sound of Warp Technique and is an instantly causes the listener to tap their foot and nod their head in concert with it.  Like all psychedelic music in this genre there’s a constant movement of a variety of sounds, moving and swirling happening at all times.  Then around 2:27 a sample occurs and it is a hilarious moment the first time you hear it.  I won’t talk about it here.  Give a listen for yourself.  We get some vocal sample work around the 5:20 mark, about 2/3′s of the way through the track.  They’re well placed and add just another dimension to the overall track.  The bass line drops out at 7:40 and it’s been playing for so long that it’s almost as if you’ve forgotten the bass line was there and how intricate to the song it really is.  This is amazing track and if you too enjoy it, should definitely checkout their album.  (10/10)

#6 – Capsula – I Still Know that I Know

Up next is a track off of Capsula’s debut album, Sense of a Drop, which I’ve previously reviewed here.  I am going to shamefully copy and paste what I wrote about this track on that review because it’s late and I’ve skipped tomorrow’s class assignments to continue writing this review and my eyelids are now like dead weights, so here ya go :

I’ll admit, as soon as I saw the track listing for this album, this track was the one I wanted to hear the most.  It’s the sequel to I Know that I Know, from his first album.  That track was one of my favorites too.  This track is immediately recognizable as a sequel because Alan Watts begins it.  I’m a huge fan of Alan Watts and anytime an artist can incorporate his words successfully, it can work great.  The samples are new, not seen in the first track, but the original sample is also included to remind you of it, a nice touch.  This entire song has something going on at all times.  When I think of Capsula, this is what I hear in my head.  There are layers upon layers working here and they all belong here, everything works.  The same melody lines are present from the original but expanded upon.

A second set of samples comes in half way through which, not surprising at all, are an extension of the original sample.  On the original the Watts says:

We are all so fascinated with recording things. Taking photographs, writing them down and above all remembering them.  Because you see if you don’t remember anything, you don’t know you’re there. A person who has total amnesia and lived in a split second only wouldn’t know he was there.

The sample here builds on the concept:

The in and the out, the raw moment and the memory…. See memory, if you didn’t remember it, you wouldn’t know there was going to be a tomorrow, because there isn’t one. “Tomorrow” is an illusion. It simply isn’t here, where is it? Now this is perfectly marvelous!

As soon as the sample ends the track kicks it up a notch and the whole sound field is alive.  There’s really a lot going on here!  The track ends with another sample of Watts.  (10/10)

#7 – International Observer – Quiet Please

International Observer is Tom Bailey and Rakai Karaitiana.  They’ve released four albums to date including an album this year titled, “Felt” on Dubmission Records, the same label that features Pitch Black, Warp Technique, and Third Ear Audio.  Quiet Please begins with Middle-Eastern beat and sitar melody and right from the start has a different vibe to it and it’s a good one.  The bass line and rhythm immediately follow.  The song at this point is really groovin’ with the bass hitting pretty deep, it’s really a nice bass.  The sitar returns a bit around 1:30.  The track from now until the end doesn’t change that much but it is still a pleasant track.  I’ll admit, I haven’t heard that much of International Observer, but now that I’ve heard this track, I’ll definitely take some time and checkout their other work.  This is track is relatively simple but it’s very good. (8/10)

#8 – Hoehle – Why Me

There’s not that much information out on the next artist.  From their Myspace page it says that the project is a collaboration between Jus10 and Master Margherita. Seems they’ve released an EP but I’ve yet to check it out so I can only only comment on this track.  And the track itself is a very interesting one.  It’s mainly beat driven with some unique sci-fi samples thrown in.  It begins with sample talking about the weather on a planet in a particular star system.  The rhythm section bursts onto the sound field around :44 and will play almost continually for the entire track.  Some really nice psychedelic sounds echo and spiral throughout as well.  The entire track keeps you focused due to it’s unique beat structure.  Another sample comes in a bit before halfway through and gives the song it’s name.  Again, Hoehle is another project I had not before this compilation and will be checking their work out as well.  (9/10)

#9 – Hanfstengel – Big Fish (Winter Mix)

If it was hard to track down some info on Hoehle, it’s even harder to get some information about Hanfstengel.  A quick copy and paste into Google Translate and I get “hemp stems”.  Kind of interesting.  It seems to be a side project of Master Margherita.  If the above track was also considered very rhythm driven, then I’d say that this track is even more so.  It’s basically a beat with an occasional pad and jamming bass line, which repeats for five minutes.  It’s not a bad track in any sense but just doesn’t match well with the psychedelic work of the majority of tracks preceding it.  It’s still interesting and unique but after repeated listenings, it’s not one of the tracks I found myself wanting to play again, even though it isn’t really that long.  (7/10)

#10 – Master Margherita – Antaris

And finally, the last track of the album, Master Margherita himself.  It’s also the longest track of the entire compilation by about two minutes.  Master Margherita has released a few albums, most notably his latest effort on the mighty Peak Records.  Again, I’ve not heard much of his work outside of the Peak Records compilations so I have yet to form a fair opinion of his work.  But based off of this track, I probably should try harder.  Antaris takes a long time to build up and to feel like a dub track.  It’s Middle-Eastern feeling with a steady guitar note played too an increasing intensity until the beat emerges out of the ether around 3:16.  It continues to build, tension increasing and almost exactly at the mid-point of the track are we finally in full movement.  It’s an outstanding buildup overall but you’re still reminded of the work it took to get to this point by the guitar that still plays along.  Then at the 6:30 mark the song shifts into a higher gear with a bass guitar solo and a new rhythm comes into play and it’s funky and groovy as all hell.  Some remnants of  sound from the first half of the song return to meld with this new sound.  This may actually be my favorite track of the album!

The track then comes to an end with the same style as it began.  It almost feels like a psychedelic trip in itself, with a definite rise and peak with a slight trough here and there and then a giant peak near the end and then a slow fadeout.  A marvelous track here.  If MM’s other tracks are anything like this I’ll be having to skip a few meals the next few weeks so I can purchase his albums.  (10/10)

This compilation is a mixed–but definitely positive–bag for me.  It’s got some amazing tracks that are sure to please fans of psychedelic dub and fans of complex but fun rhythms.  But I can’t help but seem to think that some of the tracks towards the end could have been replaced with a longer, single track that stayed more in tune with the other tracks.  These tracks aren’t bad in any sense of the word, they just don’t seem to fit.  But then again, hearing new artists is always a good thing, so take taht previous statement with a grain of salt and definitely think about purchasing this album.  Especially if you like your music dubby with a side of psychedelia.

Top 3(+) Tracks:

1. Wonderland
2. Antaris
3. Up In Smoke
4. I Still Know That I Know

Purchase @:

Waveform

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Artist: Capsula
Album: Sense of a Drop
Format: CD (Digipak)
Label: Waveform Records
Catalog #: WAV 09101-2
Release Date: 9/09/09

Sense of a Drop

Tracks:
1. The 9 (6:57)
2. Myth (7:53)
3. Galvanizing (7:45)
4. To See I (7:02)
5. Illusion Hill (7:44)
6. Mindfulness Intention (5:56)
7. I Still Know That I Know (7:03)
8. Mundi (7:37)
9. Golden Orb (9:04)
10. Zero One Blues (6:58)

Total Time: 74:23

If you’re into psychedelic ambient/chill/downtempo then you’ve probably heard the name Capsula.  If not, now’s the time.  Capsula is Yosef Shamay of Israel and is one of a handful of artists that truly define what “psychedelic electronic music” is all about.  I also believe he’s been completely influenced by the video game music programmers of 20 years ago, especially the music from Road Rash 3 on Sega Genesis.  But that’s just me.

His first full-length album, Synthesis of Reality, was released on Ajana Records in 2005. He’s had tracks on compilations from Ajana, Peak Records, Moonstone Records, and Liquid Records. After four long years, he’s out with his second album, Sense of a Drop, on Waveform Records.

Here we go…

#1 – The 9

The album begins with a sound of a mechanized covering opening up and we are immediately ascending.  Welcome to the world of Capsula.  The first of what is to be many vocal samples comes in. The song takes off with the beat and bass line at :42. We are now surrounded by the (hopefully) familiar Capsula sound: psychedelic stretching, squelching, and scratching sounds floating and spinning in all conceivable directions, many layers of effected rhythms, heady bass lines, and vocal samples that spring up from the ether, pitching up and down, up and down, making the left hemisphere of your brain work just a bit.  The entire song feels like an unmedicated but happy, schizophrenic watchmaker is winding up a million clocks for 7 minutes.  A good primer to set the mood and style for the rest of the album.

#2 – Myth

Track 2 begins with arcs of electricity circling above, while another sample, this time about personal mythology, plays.  A surprising and smokey trumpet line comes in around 3:10, which wasn’t expected at all but it’s lovely as the sounds of computerized beetles skuddle around in the background.  The electricity arcs resurface with another sample.  A few minutes later the trumpet reappears and then we’re treated to a gated-melody line that will be instantly recognizable to those familiar with Capsula’s first album.  The song completes with a fade to silence.  This is psychedelic downtempo at it’s best.

#3 – Galvanizing

Galvanizing: “to stimulate or treat (muscles or nerves) with induced direct current; to startle into sudden activity”.

How appropriate that this track follows the last one.  Both meanings of the word are utilized in this track.  The bass line and signature sound effects are definitely stimulating and for some reason the word pulverizing comes to mind too, probably because of the bass!  The samples of Stephen A. Hoeller take care of the second definition: about the electrifying feeling of non-ordinary experiences.  Here is our first taste of  some chest-thudding bass on the album.  The bass line is deep.  A pleasing pad develops along with some piano melodies that will play throughout the majority of the track.  At the 5:23 mark we hear a melody line that reminds me of a similar but sped-up sound from Road Rash 3 on Sega Genesis, which I mentioned at the start.  It’s akin to the same sounds on Retro Inversion from Capsula’s first album.  The song concludes with a delayed, solo piano melody.  Definitely the best track of the first three.

#4 – To See I

Funky opening.  Sounds are everywhere, as usual.  More piano again at 1:45, wonderfully placed, especially the high notes.  Some more Road Rash-effected sounds (this is a compliment!) emerge, taking us to the last third of the song, which eventually fades out with another piano melody.  A nice and relaxing track that moves effortlessly the whole way through.

#5 – Illusion Hill

Track 5 begins a lot slower than the previous tracks.  It’s more groovy and the psychedelic sounds are held back a bit and don’t really take off until about 3 minutes in.  The track takes a different turn around 4:00 with a humorous sample from Futurama:

I went to another Universe and fell in love with a Giant Octopus; and now I’m Pope of a new religion.

The song then picks up steam and now we’re really rocking here.  The whole sound field is alive now and an electric guitar line materializes to take us to the last third of the track.  The song slows back down again with some high pitched whirring sounds that pan back and forth.  I really like this track.  Lots going on.

#6 – Mindfulness Intention

The shortest track of the album, track 6 begins somewhat mournfully or at least more serious.  The beat comes in 15 seconds later, bass line following.  I really like how Capsula can create emotions with the bass lines.  It’s pretty unique.  Around the 2:45 mark we get the requisite synth work that’s Capsula’s staple.  Nicely played, pleasant and works well.  This, however, is the weakest track in my opinion.  It’s the least interesting of the bunch and it’s a shame that he puts it ahead of the powerhouse that is the next track.  Something is missing here, but then again, maybe I’m just not being mindful enough.

#7 – I Still Know That I Know

I’ll admit, as soon as I saw the track listing for this album, this track was the one I wanted to hear the most.  It’s the sequel to I Know that I Know, from his first album.  That track was one of my favorites too.  This track is immediately recognizable as a sequel because Alan Watts begins it.  I’m a huge fan of Alan Watts and anytime an artist can incorporate his words successfully, it can work great.  The samples are new, not seen in the first track, but the original sample is also included to remind you of it, a nice touch.  This entire song has something going on at all times.  When I think of Capsula, this is what I hear in my head.  There are layers upon layers working here and they all belong here, everything works.  The same melody lines are present from the original but expanded upon.

A second set of samples comes in half way through which, not surprising at all, are an extension of the original sample.  On the original the Watts says:

We are all so fascinated with recording things. Taking photographs, writing them down and above all remembering them.  Because you see if you don’t remember anything, you don’t know you’re there. A person who has total amnesia and lived in a split second only wouldn’t know he was there.

The sample here builds on the concept:

The in and the out, the raw moment and the memory…. See memory, if you didn’t remember it, you wouldn’t know there was going to be a tomorrow, because there isn’t one. “Tomorrow” is an illusion. It simply isn’t here, where is it? Now this is perfectly marvelous!

As soon as the sample ends the track kicks it up a notch and the whole sound field is alive.  There’s really a lot going on here!  The track ends with another sample of Watts.  Highlight of the album…by far.

#8 – Mundi

This track is the most interesting one of the entire album.  It starts with some interesting live bass and transitions into a nice piece of music, with some ethereal female vocals singing softly in the background.   I wasn’t sure exactly where this was going to go but it took me by surprise.  The bass line is still playing underneath everything but the whole emotional tone of the song has changed.  It’s not at all what I expected and I like it, I like it a lot.  It’s very mystical and alive.  I think without the bass line the track would be entirely different.  It’s the anchor that won’t let the song, or your mind, drift off into the unconscious clouds.  It keeps you grounded and focused on all of the other sounds that are playing simultaneously.

#9 – Golden Orb

Track 9 has already been featured on the Liquid Records compilation, Soul Vibration 2.  Here’s what Capsula had to say about the track on the Isratrance boards:

The ‘golden orb’ track is remastered and re-edited, minor changes in kicks and speech samples so the sound is much better and coherent with the rest of the tracks but i would say its basically the same and not a remix.

The track itself is strong.  Great samples, steady guitar throughout.  Squelching, hairy sounds revolving around space at all times.  Again, there is a lot going on in this track, but it all fits together perfectly.  A fantastic track, even if it’s already been released.  Who cares?

#10 – Zero One Blues

Perfect track to end a damn great album.  This is about as “chilled” as I think Capsula will get.  It’s got some crafty  guitar work  from Salient Dummy sprinkled about half way through the song and to end the song, the guitar returns and returns by itself.  The track ends on a sample stating:

Reality is what you make of it.

Hopefully you’ve picked up on the idea that I absolutely love this album from start to finish. It is utterly unique in almost every aspect you can think of. This album is the very definition of psychedelic and I’ll be playing this for years to come, no doubt.  Do yourself a favor and pick up this album as quickly as possible.  Only $10 at Waveform!

Top 3 Tracks:

1. I Still Know That I Know
2. Mundi
3. Galvanizing

External Links

Capsula: http://www.dreamcapsula.com/
Discogs: http://www.discogs.com/artist/Capsula
Waveform Records: http://www.waveformhq.com/

Purchase:

Waveform
Psyshop
Amazon

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