Murralin Lane are a Swedish duo fairly new on the scene comprised of David Wenngren and Ylva Wiklund. You’ll no doubt be familiar with David’s other moniker Library Tapes but here he joins forces with partner Ylva to create somewhat of a new sound. Anybody expecting to hear the piano will be pleasantly surprised…

Their debut release Our House is on The Wall, available from today, is full of stutters yet manages a certain amount of fluidity that is admirable; it has stillness but at the same time chaos and most passages are formed of intense grain. Wiklund layers her vocals atop the glittery textures that find their way bounding along gracefully throughout it’s 32 minute run time.

It takes a little time for the album to find its feet but from track 4 onwards the album really does well to grip the listener. The processing takes center stage and the detail that went into the recording is heard well. ‘In The Woods’ is a good example of where the processing goes well beyond simply time-stretching and abandoning. A great deal of care has gone into the processing and It is clear that the duo know what they’re doing in this respect.

‘She Collected’ and ‘When I Told You’ finish off the album by letting Ylva’s vocals really take the stage. Previously the vocals had become one with the soundscapes adding depth to the sound but in the final minutes of the record the voice is drawn out of hiding. It’s a progressive album where the vocals reveal themselves over time. They stay hidden when they make their dreamy entrance on ‘Folding Paper Planes’ and perhaps dreamy is the best adjective to use. The album creates an intense feeling that the listener is in fact intruding on a lost friends dream. It almost sounds as if Murralin Lane are guiding the listener through the city hunting for a lost friend, but everything sounds wrong and nothing makes sense. You are aware of a distant voice calling as it gradually gets closer as you find your way through the soundscape.

It’s just the start for Murralin Lane, and I believe that with time they can improve their cohesion of the vocals and the drones as at times they could seem slightly removed from one another. However, on tracks such as ‘When I Told You’ the vocals really seem to add what is needed to the soundbed. This is the track where the vocals are most impressive and dive seamlessly in and out of the sea of sound. It’s an interesting album that is somewhat fresh in the use of vocals.

- Review by Simon James French for Fluid Radio

Our House is on The Wall is available from 7th September on 12k Recordings
Also through Experimedia

www.12k.com
www.myspace.com/murralinlane

Wurdskrieme is one of two new releases from Piiptsjilling, a quartet that is formed of Jan and Romke Kleefstra, Mariska Baars and Rutger Zuydervelt. The name Piiptsjilling (pronounced ‘peep-chilling’) is Frisian; a language which Jan Kleefstra uses for the poetry he reads to accompany the improvised sonic worlds that the remaining three members create with guitars, effects, loopers and the voice…

In March 2010 the band took to an intensive 2-day improvised recording session with the goal of creating nothing more than beautiful, challenging music. The session resulted in two-and-a-half hours of material which was mixed and edited into two separate albums. Did they succeed with their simple goal? Yes. Yes they did.

Piiptsjilling’s first album, self-titled and released in 2008, was a fairly post-rock induced affair with weeping guitars and suppressed desperation by the bucket-load. This time around, the post-rock influence has disappeared and the guitars, at times, are used as a percussion instrument in a prepared- style à la Keith Rowe on tracks such as the graciously atmospheric Sangerjende wyn and Utsakke bui.

As Wurdskrieme unfolds, one thing that is noticeable is that the poetry seamlessly becomes one with the atmospheres created by the band. Becoming part of the soundscape rather than clumsily resting on top. At times in their debut the voice seemed to act as a controlling factor, regulating the sound and almost giving it permission to start, stop and evolve. No doubt an interesting discovery; but this could all too easily pull the listener out of their sound induced coma.

The album is full-to-the-brim with the usual electroacoustic ambient loveliness; guitars, drones, the voice, field recordings, blips and glitches help to create an album with somewhat of a bi-polar disease; sometimes thickly laden and sometimes sparsely scattered with tiny sounds. It really is a feast for the ears that doesn’t do much wrong in its near on 40 minute run time.

Even though this is essentially an improvised body of work – except for the mixing of course – it really doesn’t sound so. Every movement really does seem carefully orchestrated from start to finish. Wurch ljocht is a good example; as the track fills with layer upon layer of sound everything ceases in the final seconds to allow a three-note cadence to shine through. Of course something like this could oh-so-easily be done in the mixing stage, but it’s nice to think that there was at least a glimmer of planned performance behind this improvisational body of work.

Ferware is the album highlight and shows the band at their most in-sync on the record. The track rolls along serenely, and what starts as a beautiful thing soon sinks into ominous nightmare territory where Jan’s poetry awaits to lull the listener into a vulnerable state of wonder.

Piiptsjilling have managed to create a wonderfully coherent album with Wurdskrieme that no doubt manages to hold the listener’s attention for the duration – something that their debut struggled with slightly at certain points. They’ve also successfully created an improvisation set that sounds orchestrated; it truly sounds as if each performer listened intently to what the others were creating which oftentimes is the downfall of most improvisation troops.

Keep an eye out for Wurdskrieme; released later this year on Experimedia.

- Review by Simon James French for Fluid Radio

www.piiptsjilling.wordpress.com
www.myspace.com/janromke
www.soccercommittee.com
www.machinefabriek.nu
www.experimedia.net

M. Ostermeier has had a busy year; we’re only 8 months in and he’s already released two records and is about to release his third, Chance Reconstruction…

His first two releases Percolate and Lakefront released on Parvo Art and Hibernate respectively had a definite style and feel that portrayed itself clearly throughout. However, Chance Reconstruction immediately feels more ripened than its predecessors and also feels like an album in which Ostermeier wanted to push the boundaries of what he had learnt making the first two records. This results in something which is non-definable by such a word as ambient or classical or any combination of the two.

Chance Reconstruction is an atmospheric affair; bathing the listener in brooding textures and wavering piano motifs. As is the general style of Ostermeier his compositions are laden with carefully placed field recordings that tie the melodic motifs to something more tangible (is that the clanging of a radiator I hear?).

What Ostermeier is always best at though, even if it is not immediately noticeable, is his sense of texture and rhythm. His first release Percolate was full of glitches and sputters from more traditional percussion techniques, however, when he moved on from these elements the sense of rhythm still remained, and that is in part due to Ostermeier’s ability to utilise granular field recordings that add a definite movement which, of course, was the role that the percussion played in previous releases.

The opening track, Last, is a departure from the downbeat theme that runs through Ostermeier’s previous endeavours and starts the record off with somewhat of an optimistic feel. This is something that is seldom heard again as the mood on the second – the title track – is anything but. Things swiftly turn dark as the brooding textures that I mention truly work their magic. Each swell fighting to be heard and perhaps the attention of the piano riff that happens to be walking amongst them. The influence of Akira Yamaoka can certainly be heard from somewhere deep within.

In Beacon Adrift, M. shows off the fine skills he honed in Percolate by effortlessly giving every sound its own place within the sparse and grainy sound world which helps to clarify rather than complicate. This sparse atmosphere remains true until Deepr arrives and gives the album the backbone it was needing. This is where Ostermeier really shows what he’s made of and is perhaps one of his finest compositions to date. The moody atmosphere of the album is thankfully still present and is underpinned by the luscious scratchy drone that finds itself wandering throughout.

The album rounds off with the wonderfully serene No. 14 but this track as well as a few others could benefit from having the time to develop and breath for slightly longer particularly in the final seconds. It sometimes seems as if things are over too quickly. However, this doesn’t remove much from the fact that this is a carefully orchestrated album that does well from repeated listens and giving it the attention it deserves. Overall it’s an album that certainly flows confidently and thankfully never feels static. Stand out tracks include Chance Reconstruction, Deepr and Hedge Game. – Review by Simon James French for Fluid Radio

Chance Reconstruction can be ordered now from the Tench website.

www.words-on-music.com/mostermeier
www.tenchrec.com
www.consumptive.org

Hibernate Recordings: Personal Selections by Fluid Radio on Mixcloud

We recently asked Jonathan over at Hibernate Recordings to approach artists from the label to be involved in this alternative mix…

The idea was to get each artist to delve into their record/cd collections and select one track that resonates with them in a deep and personal way. Once each artist had chosen their track of choice, it was left to Jonathan to create the musical journey.

We think you will agree that the selection is both unique and at the same time fascinating as it gives us a small glimpse into the mind of the music they love.

Track List:

1. Northerner: Lieutenant Pigeon – Mouldy Old Dough
2. Haruki: Daniel Padden – English Again
3. Tom White: Alan Licht – Muhammed Ali & The Crickets
4. Talvihorros: Angels of Light – My Sister Said
5. Ian Hawgood: His Name Is Alive – Home Is in Your Head
6. Strom Noir: Coil – The First Five Minutes After Death
7. Simon James French: György Ligeti – Atmosphères
8. Nigel Samways: Keith Jarrett – Spheres (1st Movement)
9. Hakobune: Giorgio Romino – East Ending
10. Chihei Hatakeyama: Stephan Mathieu – Love
11. M. Ostermeier: Alva Noto + Ryuichi Sakamoto – Trioon I
12. Warmth Terminal: Aphex Twin – Lichen
13. Relmic Statute: Fripp & Eno – The Heavenly Music Corporation

www.hibernate-recs.co.uk
www.myspace.com/northernermusicuk
www.myspace.com/haruki9
www.myspace.com/tomwhites
www.myspace.com/talvihorros
www.myspace.com/iandhawgood
www.myspace.com/stromnoir
www.myspace.com/simonjamesfrench
www.myspace.com/nigelsamways
www.myspace.com/hakobunemusic
www.myspace.com/chiheihatakeyama
www.myspace.com/marcostermeier
www.myspace.com/warmthterminal
www.myspace.com/relmicstatute

The soon to be released ‘Anthem‘ (Hibernate Records 005) is the majestic debut album from composer Simon James French…

It would seem that the label can do no wrong at the moment producing stunning releases time after time. This is clearly the case with Simon’s project, as each composition resonates a deep atmospheric feel, capturing a timeless soundscape of the highest order.

With it’s orchestral like environment of exploration and wonder, ‘Anthem‘ demonstrates Simon’s expertise within the realms of experimental soundscapes. You immidiately sense his ability to allow each track time and space to breath without ever needing to ‘over do’ things, a technique commomplace throughout.

This is never more evident than in the stand out track ‘Misery‘; never overreaching, never trying too hard to overstate, flawlessly encapsulating an eerie gothic feel along the lines of Jacaszek’s creations.

‘Anthem’ delievers ghostly digital portraits with it’s low organ tones and treated sounds…

An exceptional debut album from the talented artist that would be a great addition to any music connoisseur’s collection. 9/10

Review by Daniel Crossley

About Simon:

Simon James French is a sound artist currently based in London, UK. His work is increasingly involved in the art of field recording but often transcends the gap between phonography and sound design. Interested in cross-media work, Simon’s work often contains field recordings, synthesis, and live electronics.

Heavily inspired by the compositional techniques of György Ligeti, Simon’s first release Anthem is full of dynamic movement
and heavy textures that, in its entirety make for an ever changing body of work that invites the listener to fall headlong into this world of sinuous, melodic drones, evocative motifs and cleverly incorporated real-world sounds.

www.myspace.com/simonjamesfrench

www.hibernate-recs.com

Simon James French Exclusive by Fluid Radio on Mixcloud

For those that missed out Simon’s mix can now be heard below…

Elevation // Hildur Guðnadóttir
Cantus in Memorium Benjamin Britten // Arvo Pärt
Esther // Simon James French
Tides // Segue (www.myspace.com/segue // www.duckbay.net)
Metamorphosis: Five // Philip Glass
Oto // Fennesz + Sakamoto
Deep Under // Sawako
The Ruined City // Janek Schaefer

Contact Details:

www.myspace.com/simonjamesfrench
www.soundcloud.com/sjf
simonjamesfrench@gmail.com