TranscendNoise

Continuing their run of EPs and widening their scope, Raime´s return with "We Can´t Be That Far From The Beginning" isn´t just another turn in this progression, but sees the UK duo starting their own label RR and opening up anticipation for more to come and maybe even other artists to rise. While Am I Using Content or Is Content Using   Me? saw Raime opening their style up for the unimaginable flood of information, snippets, and samples in an unusually reggeaton colored palette, We Can´t Be That Far builds on these experiences while folding back on elements of their studio albums. From the start "In Media Res" is the seamless connection to Am I Using Content : The chromatic stutter winds up before being underlined with a bouncy synth line. However, a departure is imminent after only a minute. The vocal sample "I am tired" peaks in repetition and a call and response like scheme, underlined by strings and a complete dissolution of any repetition, bea...

Since the dread dub exploration of their 2016 sophomore album, Raime have been steadily shifting their sound in every EP. First offering Notion 2 Notion  gave insight into more club-oriented attacks in the same sonic universe of previous album Tooth . The tunnel these two tracks dugs, the bass, sparse drums and compressed feeling of dread and loss moved slightly faster than the previous year. Despite this, they didn´t stray too far, blended nicely into the known universe Raime build.  A bigger venture indicative of what would happen with their main project came under the Yally moniker and their Dread Risk / U-Eff-O 7-inch for Diagonal. Here the duo sped up the comatose drums and bass into frantic hammering, incorporated vocal snippets and delivered a direct connection into the jungle and footwork roots of the abstract main project. What came to the fore in this release was a clear understanding of sonic storytelling. While Raime and Tooth certainly don´t lack in t...

Clawing – Spectral Estate As listeners, we turn to music for a vast range of reasons. For one, we try to integrate and emulate our experiences and surroundings in sound, try to find an emotional connection with sounds in search of a different or enhanced reality. Clawing offer something unique here: Insight into very real horrors of this world.  Clawing is a band consisting of Austin Gaines (Calques), multi-instrumentalist Jeff McLeod and poet Matt Finney, a trio able to evoke the darkest and most disturbing feelings and sceneries imaginable. Finney´s words gently lull you into the scene, a faux awakening and encounter with a surreal father figure that gives way to murky soundscapes. A scorched mess gauging your sense of direction. Cyclical. in an almost prayer like atmosphere, Gaines, and McLeod lead you deeper into a percussive attack of noise and guitar drones copulating. Everything crashes, Finney re-emerges buried and the dream-state becomes a hollow vessel of black. ...

Abul Mogard – Circular Forms Abul Mogard follows his latest stride into the real. Read my review of his previous EP here . Circular Forms sees Mogard releasing his debut LP. Those who have been following the work of this retired factory worker turned artist might never had the feeling of having anything short of a real album. This album even clocks in shorter than some of his previous efforts, but there is undeniable progression and change in Mogard´s discography and this is yet another grand iteration of forward-thinking synth music.  The best way to describe this LP is to set it apart from his first ever, self-titled work. As in Abul Mogard the motivation was to recreate the sounds he was missing, namely of his time working in a factory most likely around loud machinery, progressing within his musical venture, the urge to sooth his own mind by longing for the past has vanished. Circular Forms is not in any way the endeavor of a fretful man trying to recreate a cer...

Abul Mogard – THe Sky Had Vanished Enter Sky-Music. Most of you will be familiar with the concept of space music – the kind of electronic sound somehow associated with the notion of future and space travel. Mind you, space still is silent and everything associated with space music might have its appeal, but just as this notion can be said to be an imagination, space music can only be "space-y" and a fiction build around the ideas of the distant and the future.  Synthesizers are woefully married with this imagery, and almost every time these electronically processed, not bodily resounding sounds are heard, the associations of future spring to mind and are utilized for description. One other association today, and one that Abul Mogard´s first release is narratively bound to, is that of nostalgia – or in other terms the past, inhabiting associations with synthesized sound. Old computers being used to sound "old" or recreate past auras of pop or electronic ...