info@windandwire.com
SUPPORT INDEPENDENT MUSIC!
|
|
|
|
|
|
|
|
Artist: Zero Ohms Reviews:
|
The third definition of the word "sublime" (in The American Heritage Dictionary of the English Language, New College Edition) reads as follows: "3. Inspiring awe, impressive, moving." These terms are also words I'd use to describe the new collaboration between Gordon Rhyne (overtone vocals, electric tambura, keyboard) and Zero Ohms (bansuri, bass flute, wind-synth, ocean drum). Ecstasis is six tracks that flow seamlessly into one another. The music is like sensuous incense, permeating the very air with its heady aural scent of East Indian-tinted ambient bliss. All that is missing is the smell of curry and coriander coming from the kitchen (with the promise of a delicious meal to come) to make the experience complete! For once, the warning in the liner notes "Caution: Listening while driving is not recommended." is completely warranted. Wave after wave of soothing music starts right away, with Gordon's haunting overtone singing, the comforting drone of the tambura, and the subtle addition of sparse electronic textures, courtesy of either Rhyne's keyboard or Zero Ohms' wind-synth. In addition to the many talents of the two primary artists on Ecstasis, Brannan Lane (who has worked before with Zero Ohms on the splendid Soundfall to the Infinite) lends support on this opening track ("Luminosity") with a gentle application of bells (he also contributes treatments and mastering to the recording). "Luminosity" is wonderful - serene yet mystical; spiritual but not the least bit pretentious or overbearing. However, all of Ecstasis should be experienced, not just one track. As I stated above, while there are six distinct cuts (track cues), the entire album unfolds like a slowly evolving work. Commenting on "differences" between the songs would not really serve as anything except a critical analysis. Absorbed as an entire album, Ecstasis is deeply moving, incredibly relaxing and calming, and also beautiful in a low-key and unassuming yet undeniable way. Gordon Rhyne's overtone singing never strays far afield from having a soothing yet haunting sonic massage effect, (his singing is such that listeners and fans of Jim Cole's overtone vocalizings will recognize it as similar, yet also uniquely his own as well). The tambura drone, obviously, helps to unite the six tracks into a cohesive whole, even though it is placed in the background with just enough presence to be noticed but not in any way to overshadow the other elements here. Track 3, "Realization" does change the "glow" of the CD slightly, adding a slightly exotic spice to the underlying drone and textures. The music may be heard as "darker" on this selection, although the use of "darker" is problematic because this music is about purity and light, as far as I'm concerned. It's not until track 4, "Contemplation," that I first discerned the melodic magic that Zero Ohms is capable of producing on his flutes (bansuri and bass) and even then the flute notes seem to hover in the air for an all too brief period. It's on track 6, "Paradox," that I was finally able to get my "fix" of Zero Ohms' flutist talents, which are considerable and truly intoxicating to my ears. It's this last cut that may "sound" the most like world fusion to ambient purists, but I'd still label the entirety of Ecstasis as an ambient recording. While there's no getting away from the East Indian "feel" of tambura drones, overtone singing and bansuri, the overall effect of the music is much more about unconsciously painting a room than it is about sitting and listening - although, in all honesty, I enjoyed that aspect just as much. The only downside to direct listening of Ecstasis is this - it's a wholly relaxing and spiritually calming experience. When I played this late at night on headphones, I never failed to slip gently into slumber (particularly deep sleep, I might add). Yet, the gentle musical caresses that this CD offers lovingly to the listener are so inviting that he or she will also want to immerse him/herself in the continuous fluid stream of drones, overtones, flutes and textures. It's a wonderful quandary to face, though. Would that more ambient music was so adept at performing both tasks so effortlessly. Ecstasis is one of those rare albums that I have played over and over and over in a row and never tired of. At my stressful job, it worked wonders on my frazzled mind. At home, it was like a soothing musical balm. That music this emotionally rewarding can come from (what at least appears on the surface) to be relatively "simple" (meaning made up of few elements and not overly-tweaked to any huge degree) is, to me, the definitive evidence of the correctness of describing Ecstasis as sublime. "Inspiring awe?" Lord, yes. "Impressive?" Color me very impressed. "Moving?" Without a doubt! Zero Ohms and Gordon Rhyne have rendered one of the first great ambient releases of the new year. Highly recommended.
I was totally blown away by the collaboration between Zero Ohms (Richard Roberts) and Brannan Lane, Soundfall to the Infinite. This is an amazing synthesis of ambient electronics, ethnic percussion (shaker, djembe, rattle, rainstick), flutes, and processing. Lane handles the percussion, synths, processing and treatments, while Roberts/Zero Ohms plays seven kinds of flutes (!), his trademark wind-controlled synthesizer, and also handles some treatments. The album is comprised of three two-part movements. The first is called "Beyond the Dream Garden" with part one being "Beyond" and part two titled (you guessed it) "The Dream Garden." (This pattern holds true for each of the remaining two movements as well). "Beyond the Dream Garden" is fantastic. Melodic yet somewhat droning synths float underneath echoed percussion (a la Rich or Roach) but since the tonality is major key (which was a pleasant surprise), the feeling is not one of shadow but one of hope and warmth - almost evoking the feeling of a Japanese Zen garden or reflection pool. This movement, like the other two, goes patiently through its motions, evolving ever so slowly yet distinctly. The music throughout Soundfall to the Infinite has a discernible (and intoxicating) organic life force. While the CD has to be labeled ambient, I've heard minimal Japanese meditation music that contained the same vibe as some of this does (along with more than a few recordings by ace flute duo Coyote Oldman). The echo effect on the percussion is absolutely perfect, imparting just enough atmosphere without tarnishing the positive vibration with darkness. "Endless Land of Blue Mist" showcases Roberts' prodigious flute talents. Opening with the sounds of waves crashing on the shore (synthesized or treated), the combination of processed bass flute playing and waves (along with background dripping water it sounds like) is both calming and invigorating. Some of the wave effects have a bit of thunderousness to them, which might come across as jarring at first, but it added to the naturalness of the experience to my ears. As the movement progresses, sea birds call to each other and another flute soars delicately over the lower bass flute notes. There is an unforced naturalness to this music (in fact, throughout the CD). This is a different type of ambient music that somehow combines the (dare I say it) healing and melodic tendencies of new age music with the unstructured minimalism of Eno-school ambient music - quite the feat, I think. I also continue to be reminded of Eastern music as well. The movement winds down and the waves are replaced by gently running water (the stereo separation in this section is excellent, by the way). In the second movement, Richard shifts to playing Native American flute (processed and echoed in a Coyote Oldman fashion) with Brannan contributing on rattles. In addition, various ambient textures and treatments, as well as what again sounds like the bass flute lend an air of spaciousness and drifting to the piece. Echoed percussive effects are also used in the cut. The flute playing on this track may be the most out-front of the whole album, and it's haunting in its forlorn quality. The title movement ("Soundfall to the Infinite") closes the album with a thirty-two minute trip into minimal gentle pure ambient territory. In the first section, amidst mild drones, twinkling chimes (like upper register wind chimes), and serene washes of assorted synthesizers, a six-note refrain is played. Bamboo flute (I think) wafts here and there sparingly, introducing another musical element. The subtly evolving piece is the epitome of ambient music, as the various elements combine to perfume the air with a stillness and tranquillity that is almost indescribable. I dislike repeating myself, but I'm consistently put in the mind of sitting by a rock garden, a reflecting pool, or other Eastern meditation environment. This track is easily my favorite, although I love the entire album so it's more a matter of being highly subjective at this point. The final track takes the CD into deep space, opening with long droning washes of synthesizers, a la Serrie, Bowles, and (especially) Telomere. There are also some treatments and textures that impart a vast openness to the music here. At times, the synths sound a bit like overtone singing (such as practiced by Jim Cole) and at other times, the overall sound is closer to traditional - but highly subdued - synth choral work (Larry Kucharz-like). But these comparisons are only for the sake of such, and are not indicative of any copy-catting in the least. The swelling drones and background washes are the closest thing to a "dark" track on this album, but it's probably only neutral in emotional impact, actually. Different elements are brought to the forefront throughout the piece and sometimes the music gets extremely soft and minimal. Then again, when the quasi-overtone singing becomes pronounced, the music is more "there." Soundfall to the Infinite demonstrates the greatness and magic that can come about through collaborative efforts in the ambient genre. Both of these artists have produced magnificent work on their own, but I was unprepared for how sublime this CD is. While I can imagine that some hardcore ambient enthusiasts may be put off by the presence of overt flute music (even though it is wonderfully performed by Roberts) and other listeners may consider the music too close to the spirit of "new age music" (again, a superfluous distinction to my mind, since most new age music has always contained ambient characteristics), I think Soundfall to the Infinite is a modern-day classic. By using elements such as flute, hand percussion, and Eastern textures, Lane and Roberts have created the best of both worlds: the calm serenity of Zen-influenced music with the overall feel and texture of ambient music. I can't recommend the album highly enough and I hope it earns the recognition it deserves.
This new long-form ambient release from Zero Ohms (Richard Roberts) is one of the best examples of this relatively new exploration of continuous-repeat recordings aimed at establishing and maintaining a listening environment atmosphere suffused with a calming influence yet devoid of overt musicality. I have played this album several times and can say I definitely notice how it delicately yet purposely it fills the room with its flowing drones, its bubbling and tinkling textures, and its occasional Indian murli brass whistle - which is a particularly nice touch, I might add. There is a spaciousness to the soundfield - it combines with the natural fluidity of the music to create an almost perfume-like "scent" that alternately floats and hovers in the room while the CD is playing. The blending of the distinct elements (underlying lower register waves of sound, an omnipresent, relatively unchanging mid-pitch drone, a series of ongoing bubbling/twinkling sounds [kind of like glass rods drawn lazily through water and allowed to randomly and softly touch each other], gentle washes of wind-synth [sounding like strings] and the sparsely used whistle combine to create a cohesive whole that is conducive not just to relaxation but also mental activity. This is a lot harder to do than you might think. Many recordings in this genre are either too soporific (inducing sleep, which may be their aim) or too "bright" and attention-grabbing, thereby defeating their purpose as true ambient pieces. Unafraid of the Impending Silence shows Roberts as a master of infusing just enough "energy" into the music to keep it active yet also fine-tuning the mix so that only rarely does the music intrude into your upper consciousness. My only "complaint" is that, as a lover of Eastern music, I wish there had been more occurrences of that beautiful murli whistle playing of his. When he does use it, it practically glows amidst the drones and bubbling textures. But that's just my personal preference. Since I am a fan of world music, I have no problem with this element being used. "True" ambient fans will probably like the fact that the whistle is only used twice throughout the entire album. The subtle use of some recorded spoken word samples and very faint bird calls, mixed way in the background (the spoken words are as if heard on a distant public address speaker system), actually aids the recording - but I can't explain why. It's not distracting in the least, but the listener is aware of it. This risk-taking, by the artist, shows that there is more going on here than just creating an atmospheric piece of music. Richard Roberts blew me away with some of the tracks on Sweven by doing the same kind of thing. He really knows how to mix non-musical elements into his recordings. Unafraid of the Impending Silence joins an elite company of albums of perfect "infinite repeat" recordings: Lost at Dunn's Lake (James Johnson and Stephen Philips), Silence Speaks in Shadow (Paul Vnuk), Gentle Rainstorm (Simon Williams) and a few others as well. This new type of ambient recording explores music composed and performed as true sonic wallpaper - a form of music that colors the air of the listening room, makes the walls disappear, and acts like a tonic for over-taxed psyches to either relax or concentrate. The unquestionable fluidity of the music on this CD (yet completely devoid of new age mannerisms, instead almost Teutonic in its avoidance of sentimentality) is like bathing in shimmering cyber-waters. This album is way ahead of the pack as one of the best releases of 2002.
Sometimes, an album contains one or two cuts that are so good that I recommend an album based on them alone. I feel that way about the last two songs on the latest release from Zero Ohms, Sweven. While the rest of the recording has plenty of other good stuff to recommend it, those last two pieces are so killer that you could be happy just playing them on endless repeat. The first of those two songs is "The Poetics of Space." How good is it? I've played it twice in a row on my radio show (something I have never done before!). Ultra-lush synth choruses, underlying washes of pure space bliss, and one of the most amazingly poignant dialogue samples (it comes in mid-song - you'll know it when you hear it) make this a 21st century spacemusic classic - and I mean that literally. This stands toe-to-toe with anything that Serrie or Roach ever did. It's that damn good. It sends chills down my spine every time I hear that dialogue sample over the layers of keyboards. The last cut on the album, "Crossing the Laya Center" is yet another text-book spacemusic cut. Less "ethereal" than the previous song, it's more spacy at times. Again, synth choruses play a large part, along with other patient washes of keyboards and floating chords and notes; there are also some under-the-surface spacier elements as well. Where "The Poetics of Space" has a more optimistic feel to it, this cut is more emotionally ambiguous (yet not at all dark). Taken together, these two pieces are as fine a sampling of spacemusic as you'll find anywhere. Other songs worth mentioning include the darker "The Mysticism of Sound" (which opens with yet another totally cool dialogue sample). Drones, electronic rumblings, subtle synth choruses, and gently undulating tones paint a mysterious and vaguely disturbing soundscape on this well-done song. More experimental is the next song, "Eternal Nows," but it's never dissonant so the somewhat non-melodic elements go down quite easily. Computer-glitschy noises come and go over an underlying series of electronic noises, tones, and drones. A true drone-like experience awaits on the next song, "Express Neither Feature Nor Intent." The instrumentation on this cut is quite varied compared to most of the other songs here (Thai pii joom, Phillipino whistle, Indian brass murli, bamboo subtone flute, Andean siku, gong). On most other cuts, instrumentation consists solely of wind-synth. Only on this song and the next cut ("Sonic Wind") do more exotic musical instruments come into play. I came to enjoy the mixture of flutes and whatever the rest of the instruments are with state of the art electronics. Granted, some of what is here is challenging listening - but none of it is particularly dissonant or pointlessly avant garde, although "Sonic Wind" has its quasi-experimental moments. But ambient fans would, I think, really get into songs like "Nikwasi and the Immortal" with its lower register drones and a vaguely eerie lead synth line. The song is over nine minutes long and it follows an interesting path as it delves into assorted ambient soundworlds on its way to its conclusion. Another piece worth mentioning is entitled "Eckacitta" which features dramatic synth choruses (yet with no new age music overkill). It's Michael Stearns Baraka-like without being a copycat or the least bit derivational. All in all, this new album from Zero Ohms is a very solid slice of ambient music with more than a few forays into deep space as well. The disc is more varied than it may appear from my review, but the continuity factor is still quite high (thankfully). Some cuts have a darker texture while others are quite affirming and positive in feel. All of the music is well-done, and even the less musical songs hold the interest of someone like me who usually disdains of really abstract recorded work. However, even if everything but the last two cuts was crap, I'd still give this a thumbs up - those last two songs are that good! Recommended for ambient and spacemusic fans.
Zero Ohms is Richard Roberts, a highly talented ambient soundscape artist who I discovered through his latest album, Supreme Infinite Essence. This is a great ambient release, moving from soft-as-a-cloud drifting pieces to more experimental pieces that utilize collage and found-sounds to some degree. All of the CD is solid, though, and the continuity is greater than you would expect if you simply read the track and instrumentation listing. Things start off with "Formless, of Pathos," on which the artist uses only wind-synth (which is the predominate instrument on the album) but varies the impact and sound to create an almost organic and breath-like ambiance. Not dark, yet not light either, this song, like others, exists in an emotionally neutral environment. Comparisons to other artists is pointless. Zero Ohms is a true original! I realized this from the first listen as I had my attention consistently pulled to the fresh sounds on the album. The next track ("2% Timeless") features those collage-like effects I mentioned (Richard/Zero Ohms refers to it as "ambience" in the liner notes). I heard snatches of conversations, footsteps on tile floors, and other background noises, amid a pleasant mid-toned droning. Normally, I would loathe this kind of stuff and think it was pretentious as hell. But somehow, Richard has infused a lot of, I don't know, call it humanity in this track. I really came to enjoy the not-quite-decipherable conversation bits. It has a real intimate feel. Especially the laughter. I'm smiling right now as it plays on headphones. Tres cool, Richard! "Lichteberg Figures" is a tad more frigid. It still features that "warm" wind-synth, but there is the hint of dissonance now and then as it fades into view and then dissipates. Some static-like sounds flirt with the foreground, as a deep (but not dark) drone envelops the background. Pure ambient music is the ticket on "Looking In On Schrodinger's Cat." Soft tones and muted background effects shape-shift in the ether in a floating pool of violet light. One of the darker cuts is the next one, "Quantum Non-Locality." It opens with a spacy yet warm droning rumble. A disturbing sound emerges from the background as well as a female's voice spoken word sample. While this is not dark the way that, for example, Lustmord is, it's got that "hairs on the back of your neck" sense of disquiet. The vocal samples (and there are plenty of them) are heavily echoed and, this adds to the sense of unease, at least to my ears it does. Musically, the song morphs into a nice slice of semi-noir ambient. Not everything here is quiet, either. "Terminal Velocity: Infinite" (which in the liner notes is referred to as 'falling through a black hole') is spooky and loud - a series of droning and rushing-headlong layers of sound. However, cuts like "Nada Thing" which feature Tibetan singing bowl, pentatonic bansuri flute, and the ubiquitous wind-synth, seem to predominate the album. This particular song is a very strong one. Steeped in deep mystery, it's a superb example of ambient music at its smokiest and most sultry. It evokes images of desert dust storms and endless stretches of sand. Even more different, and what may be my second favorite song (after "2% Timeless") is next. "On The Yin Side" is a Larry Kucharz-like excursion into electronic bliss. Man, I could listen to this stuff all day. Soft billowy chords and washes bounce off each other in the ionosphere. Lovely. If there is a centerpoint to the album, though, it's "Scientists Falling In Love," an eight-plus minute exercise in found-sounds, collage, subtle dissonance, noise, and drones. The key to "getting" this piece is in the liner notes: " monstrous mutant insects can only be defeated by scientists falling in love." If you don't get it, I can't possibly explain it to you in the space allotted to me here! The album closes with the title cut, a blend of wind-synth, South African kora-kora flute, and Murli brass whistle. Robert Rich mastered this CD and this cut sounds like it could have come from his masterpiece Rainforest. It's primal and ambient and electronic all at the same time. Definitely one of the best songs on this album. Supreme Infinite Essence is one of the more ambitious CDs I've heard in several years - but it's still incredibly accessible (for ambient music, that is). As I mentioned earlier, it grabbed my attention immediately - and that is very rare for an ambient recording. Those fans who are disturbed by any ambient music above a whisper may bristle at a few cuts, but on balance this is a superb low-key series of soundscapes. Personally, I enjoyed the collage and found-sound elements, due principally to Richard's/Zero Ohms' expert ability at integrating them into the drone-like ambiance. While spacemusic listeners may not hear much "music" on this album, ambient lovers with open ears and minds will find lots of fascinating territory that is highly worth exploring. Headphones, by the way, are strongly suggested. Recommended? Without a doubt! |
info@windandwire.com
SUPPORT INDEPENDENT MUSIC!