SOME STUFFS: Black Ryder share second track from forthcoming album

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The Black Ryder will be releasing The Door Behind The Door (The Anti-Machine Machine) on February 24th but they’re not rushing things. They would like to share a song from the new album, this one called “Seventh Moon”. Try it out and maybe you’ll find yourself behind the door that’s behind The Door Behind The Door.


SOME STUFFS: The Black Ryder to release long awaited second album

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It has been five years since The Black Ryder released their debut album, and yet they have been writing and creating music for their follow-up as soon as it was finished. Fans who have been waiting will have to wait another year, or at least they’ll have to wait a few more months into the new year, as The Door Behind The Door (The Anti-Machine Machine) will be ready on February 24th. Engineered by member Von Ryper, who also co-produced it along with bandmate Aimee Nash, the new music will be anxiously awaited by those who have been playing their debut for the last 60 months. Take home “Santaria” by downloading it for free, while supplies last, then check out the trailer for the album to find out what the new album will be like.


REVIEW: BVDUB & Loscil’s “Erebus”

BVDUB & Loscil photo BVDUBLoscil_cover_zps9ad04f55.jpg I’m always prepared when BVDUB releases new music, no matter where he chooses to go, unveil, unfold, or un- whatever. This time, his latest project is a collaboration between Loscil and these two masters decided to have some fun with Erebus (Norman).

When I say “have fun”, I don’t mean they crank up the beats and synths for a dance party, although they could do that too. They explore the world of the ambient and the ethereal to create the type of electronic sounds both are known for traveling in, but finding a bit of both common ground and foreign exchange. There are some songs, like “Hespiredes”, where it sounds as if they’re both going beyond the point of no brickwall return, but then you have something more joyous like “Thanatos”, where the female voices cradle the soundscape, flying through and making it/themselves known to find a smooth place to land, if they choose to land at any given time. Erebus combines the best of minimalism and repetition to create something that is uniquely theirs, now combined to create a feast for all senses and at the moments when it feels like it is too much or it’ll go overboard, it knows when to pull back and reduce itself, like a pot of water about to go over the brim but never does. It gets you there and keeps you there until you are in their world, at least for 77 minutes.

REVIEW: John Orsi’s “A Room For The Night”

Photobucket New music from John Orsi means new worlds to explore, and for A Room For The Night (it’s Twilight Time), the six songs here are meant to be filled with surprises and delight, but you’re not meant to stay there for long. Look, listen, and head out.

The music here could be considered incidental music, the kind of songs that would create susprise in any action film or drama, in fact as I was listening to “Jaldi”, it’s clock-like precision and pace made me feel like it was an indication of time for someone in a movie that was trying to crack open a safe. Without cinematic themes in mind, it could also be the sounds of a Middle Eastern or Indian marketplace at peak hour, although when is it not peak hour at the marketplace? Or perhaps it’s Asian in nature, as it sounds like three or four gamelans at once trying to sound unique among one another but still coming through. A perfect example of this is the aptly named “Togetherness”, where one might hear a xylophone or vibraphone playing along with what sounds like a room full of clocks ready to strike at the same time but doesn’t. At times, Orsi’s work seems chaotic and peculiar but I think they’re both that on purpose. Behind each assembled track is a pulse that keeps not only each song working, but the EP as a whole working as one being. “Companion Wheel” combines synthesizers and distortion (sounds like a guitar at high volume but could easily be keyboards going through effects) with the heart of the percussion in the background, and I was wondering if I should listen to the song as an entry way, a means of escape, or simply existing within the orgy of sound. The EP ends with a subtle moral of sorts called “Two Trains Passing In The Night (not that many trains pass in my nights anymore)”, and while one can listen to this as the exit in this chain of songs because I see it listed as the final track, it can also be interpreted as a beginning to, or the final destination of solitude and meditation, or simply just finality in this project, the end of the stay in a room for the night. Now it’s time to head home. It’s also the album’s longest song, and with most of the album having limited time constraints (done on purpose), hearing this is almost orgasmic, or at least it’ll make you wide-eyed and wondering where each sound will lead. Going through the last track will make one assume this was an album going on for twice its actual duration (full length of this EP is 23:10).

The progressive sense I hear comes from hearing music mixed with machinery, traffic, and natural sound as a means to convey an aura. You are perhaps put into a city unfamiliar to you, and you’re hearing quick glimpses of an audio diary, page by page. Or maybe these sounds are partly familiar to you, and you know how to get back home through the unfamiliar. I could easily see a project like this taken to other musicians, composers, and sound producers to see how far this could go, so that one can say in the room for longer than a night, or to find different delights in different rooms along the way. To simplify this, it’s like hearing the non-musical portions of Pink Floyd albums and wishing one would create more music like that. You’ve now found that album, if only for one night.