“Stilhedens Strømmen I Fuglenes Blod” (published as a self-release in 2015) is a brave acoustic guitar suite, delicate and magnetic, recorded in a perfect balance between ambient and folk. The result is spiritual and meditative flow where the listener can dive and let himsel be lulled by repeating melodies, evocative small variations and a great hypnotic style.”
øjeRUM is the work of the prolific Danish artist Paw Grabowski whose music has appeared on labels such as Unknown Tone, Midira, Eilean Rec, Fluid Audio and others. He’s equally known for his collages that have appeared on his and other releases.
“Stilhedens Strømmen I Fuglenes Blod” which translates to “The Flow Of Silence In The Blood Of Birds” is a single thirty minute piece with lo-fi sounds that feel like you are listening to an old warped cassette. Field recordings join acoustic guitar and minor drones to give off a folk feel. Layers of guitars and sounds such as chimes give off a feeling of loneliness and solitude. With the repetition of the piece it can become hypnotic and with the space in the recording, the track allowed to breathe and space for other elements to filter in. That said when it got to the final five minutes is when my interest rose as much as I like minimal music, on this piece I was craving bit more interaction from drones, field recordings or other instruments.
Federico Dal Pozzo is a Turin based concrete composer and musician. With a past based in percussion and musical studies “His works, appointed “Untitled_” are based upon concrete objects and the transfiguration and perception of the sound and audio-spatialization. He’s a Sound Designer in various theatre and dance companies in Italy, France, Belguim and Israel. He works in various Italian Foundations for Audio-Installations and Live Performance (Fondazione Sandretto Re Rebaudengo, Castello di Rivoli, Promotrice dell Belle Arti…)”
“Untitled_VNZ” is a piece coming in at just under 50 minutes that covets a great amount of musical distance mainly broken down into movements or sections that fuse together. It is a free form piece that lies in the experimental / electroacoustic style with field recordings, drones, glitches, noises constantly evolving throughout the piece. There are build ups, use of space, silences and walls of sound. Occasionally more traditional instrumentation seem to come in, but for the whole this feels more akin to the likes of Francisco Lopez and a sound art piece than a musical one.
For fans of longform experimental sounds, this has a particularly clear mastering by label boss Francis M. Gri.
Krysalisound 