- 1 - Spectrum Magazine (ambient / industrial / experimental music culture) Issue 5# review archive All reviews originally published in Issue 5#, released May, 2000 Spectrum Magazine Issue 5#: review archive - 2 - Ab OVO (Fra) “Triode” CD 2000 Fluttering Dragon To my surprise (yet again), Fluttering Dragon have released a very interesting album that is quite removed from the neo-classical/dark ambient releases that the label have previous released. The release in question, is much along the lines of the great Simple Dead CD (reviewed in Issue #4), but at the same times completely different. Minimalist ambient electronica (with a detectable dark streak) would be the broadest description I could give to this, as it is constructed on pretty subdued beats and rhythms that are structured in quite a cutting edge manner. For this reason, parallels to the Ant-Zen camp would have to be referenced. However not to be fooled by a minimalist description, these compositions are complex in construction and neither is specifically quiet - in essence the two elements you might normally associate with minimalism. It is rather a circumstance where the tuneful elements are kept to a minimum, as is the actual track flow, rather choosing to gradually evolve the atmospheres over long compositions. Subdued programmed beats, blips, electric hums, cut up textures, pulsating rhythms and the like are spliced together into melanges of sound that are further tweaked and twisted along the way. Track 5 (the title track) stands out, as it reminded me of Black Lung from the outset (which can only be read as a compliment in my eyes). Given the complex minimalism (who’d have thought!!) of each piece, it is difficult to descriptively do each composition justice. But if chilled out ambient electronica is of interest to you, this could be exactly what you are seeking. Ah Cama-Sotz (Bel) “U-Boot” LP 2001 Nautilus Continuing the aquatic theme of the Nautilus series, the renowned death industrialists Ah Cama-Sotz have taken on this challenge with rather successful results. Opener ‘U-Boot Theme’ with its synth melody encapsulated within swirling noise, the album takes a slow decent into the increasingly murky depths particularly when it forges into the sparse yet bass intoned ‘deep inferno’ (this piece includes elements akin to bubbling air pockets floating up towards the sea’s surface). Sinking even further into a deep sea trench, ‘Ocean’ is a slow moving and slow morphing piece appearing as if it the oceanic tides dictates its movement. ‘Fate’ incorporates again some ominous sounding synth elements in amongst shifting muffled textures to round out the first side. ‘U-68’ with the framework of murky noise shifting synth elements and sparse sonar blips, achieves a level of intensity not reached on preceding tracks. Additionally, with this track paying homage to the legacy of this particular submarine (information provided on the sleeve indicates it was responsible for sinking 33 ships) it is quite easy to picture the sub silently and majestically gliding into attack (with a more suitable soundtrack backing playing out). Steering into ‘Iceberg’ territory, this track is a gloomy & stifled isolationist piece – and would be considered an authentic isolationist piece if it were not for faintly detectable synth elements (but mind you this element works fantastically here). ‘Lord of Steel’ contains a heavy atmosphere of tidal shifting sounds and subtly bubbling textures, making way for the final piece ‘Sinking’ – yet another fantastically brooding compositions of subtle muffled sounds and slow morphing synth tunes. However, when the synth tune transcends its surrounds to embody both an epic and forlorn atmosphere, it clearly reminds me of Necrophorus’s last album – the glacial and aquatic themes ‘Drifting in Motion’ (which is a massive compliment to give Spectrum Magazine Issue 5#: review archive - 3 - and rather fitting ending to the album). On the aesthetic front, the music is pressed onto deep blue vinyl to match the concept, whilst housed in a visually pleasing sleeve creating a fine release for both label and artist. Aluminium Noise (USA) “Totally Fucking Lost” CDR 2001 Sacred Sound Noise From the project name and CDR title, I must admit that I was really expecting some full throttle noise assault, yet what is actually presented is far removed from this initial perception. Aluminium Noise present some really fantastic droneage/ dark ambient atmosphere that are intelligently and expertly composed to be able to claim a spot alongside the likes of Yen Pox – (Yes, I know this is a reasonably big call but I still considered it to be suitably justified). Also given the structure of the songs appearing to have little resemblance to their synthetic origins (i.e. keyboards/synthesisers), rather encompassing an organic and sometimes quite raw distortional tone, it draws parallels to the sound-works of Daniel Menche. The five compositions on the CD, span between eight minutes (at the shortest) and up to seventeen minutes at the longest - each holding its own particular charm, yet remaining consistent within the ebb and flow, steadily amassing to grating tension or alternately, subtly shifting off into the infinite distance. Despite ‘pain reminds me that I am alive’ being introduced with some pretty basic guitar pedal distortion, it quickly disappears to reveal slow throbbing atmospheres and shifting sounds that fleetingly appear to have a orchestral edge. Again this track morphs through a myriad of sections, where a particularly attacking pulse characterises the later section of this track. ‘Mass in time of war I’ contains a rather metallic texture to the rotational loops – stacking one layer over the last to create quite a structured calamity (some orchestral subtleties can be detected is the final minutes of the piece). This track directly interlinks with ‘mass in time of war II’, which holds an even rawer and attacking framework to the distortional drones, however later on it does quieten down into more brooding territory particularly with the use of a sampled and manipulated symphony drone. The final track ‘patterns of dysfunction’ holds a guitar drone edge to one of the early elements, while the others evoke deeper tonal sounds and subtle reverberations (once again utilising the building/ manipulating method to drive forward the composition). The packaging is DIY in aesthetic with spray painted card sleeve and screen-printed insert, that while slightly crude, certainly serves its purpose more than adequately. Being limited to only 50 copies this might be hard to find, yet I have a sneaky suspicion that this might be snapped up for a more official release given its musical excellence. (Note: my hunch turned out to be correct as project soloist Jason Crumer recently informed me that this CD will be re-released in 1000 copies on CrimeThink. Check for details on www.crimethink.com). Amber Asylum (USA) “The Supernatural Parlour Collection” CD 2000 Release Entertainment Although I have not heard the albums that preceded this, their fourth release, Amber Asylum’s “The Supernatural Parlour Collection” commences strongly with ‘Black Lodge’, where the light yet incessant snare march sits submissively below the lightly plucked emotive guitar and classical string tune, that gradually increase in force (in more ways than one, considering the group Spectrum Magazine Issue 5#: review archive - 4 - has it nucleus with Kris Force), sweeping off in a wash of atmospheric waves of distortion. All in all the song sets an immaculate atmosphere that is somewhat difficult to top (anticipation and expectation can be a terrible curse in this regard). Things never quite reach the same heights as set here, but rather opt for an unusual mixture of classical sentimentalities and more modern musical approaches to sound interpretation (such is the cover version of a Carlo Menotti operatic piece on ‘Black Swan’ in the way that a guitar both fits whilst traditionally speaking is a foreign element). A beautiful neo- classical tone arrives in splendour on ‘Silence of the Setting Sun’, yet sits within a song structure more akin to a modern rock piece, again highlighting this mixture of the old sound and modern approach. Depressive string quartet harmonies and mournful female vocals form a subdues ode on ‘The Shepard Remix’ (I am unsure how this actually constitutes a ‘remix’ in the modern sense), traversing a similar vein of emotion on ‘Disembodied Healer’ injecting sparse vocals and select bass/guitar structure (that ultimately leans towards an experimental tone). The sixth offering, ‘Black Lodge Reprise’, is not all that recognisable in relation to the framework of the opening track, rather that the main elements of percussion and tune have been removed in favour of focussing on the distorted washes of sound (guitar generated) and melodious violin drones. With the bio giving a nod to the likes of Godspeed you Black Emperor!, in regard of this track you would not be far wrong. To conclude the album in true style (that will also offend the hardened purists), Kris Force and entourage tackle the task of covering none other than the composition of Black Sabbath’s title. Particularly with the use of violin and guttural bass/drums this sounds like what you would expect My Dying Bride to have come up with if they recorded this cover around the time of the “Turn Loose the Swans” album - albeit with a female vocalist (mind you the result is none other than a very sombre and doom riddled vibe that is both bizarre and compelling).With an overall opinion that this album is patchy in a few places and brilliant in others, I will admit that later wins out overall. Amoeba (USA) “Pivot” CD 2000 Release Entertainment After becoming acquainted with the guitar styling and standard song structures of this Robert Rich side project, I thought I knew what to exp=ct with this second album.