Cozmic Corridors- Cozmic Corridors

cozmic

Is the collective unconsciousness conscious of itself? Does that not make it the collective consciousness?

“Good day at the office, dear?”

“Yes, ta. I managed to connect Jung, de Chardin and Lovelock in one concept leading to a Brahmanistic realisation – I could have imagined it being said by Alan Watts.”

Perhaps he did say it, but probably without all the name dropping.

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Lotto – VV

lotto

We approached the castle, our intentions clearer than our exit plan, under the cover of a cloudless sky. We sought to bring words to the wordless, but their defence of silence was much stronger than anticipated, so we tried again at a later day, under a Godless sky, bringing convserion weapons full of disposal. The fabric of our reality was thinner than our thoughts, however, and soon we were plunged into a shallow abyss, the edges as near as they were closed. We sat and reasoned, how can we escape? ‘Let’s go into the castle,’ I suggested, and the drawbridge lowered, empty of defence. In we went, no longer intentional. The king was waiting; the king and an eye. The eye spoke first, how far have you wandered? ‘We haven’t left at all,’ I said, ‘I’m still at home, what are you doing in my lounge?’

Tengger – Segye

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It was in the middle of nowhere I found you strapped to the last fence, tied to the past as the desert (inevitable) encroached (incorrigible). I bribed my way past the fates, whose eyes were everywhere, and I tried to attend to the knot, not demanding the impossible.

The way forward was blocked, an impediment that blind progress nonetheless sought to conquer. It sought allies, conscript; it entreated us all to visions to prosper. ‘I will never stoop to conquer,’ I yelled and returned to my task, only to find it gone. Gone! As far as the eye can see, and I can see, let me tell you. Call this a ramble? No, I never did. This is now a rescue mission, which I think I always knew it was. If only it wasn’t so dense, maybe the target would be clearer, but theway, like the sinus of the perciever, remained blocked.

The Natacha Atlas & Marc Eagleton Project ‎– Foretold In The Language Of Dreams

220px-foretold_atlasSo I mentioned that I’d been intending to cover a couple of albums from my historic listening, and here we are with one such.

It occurred to me lately that when you listen to something is just as much a factor in how good you perceive it to be as the quality of the music itself, although the latter is of vital importance. The point I’m trying to make is that something that is really good might seem average if you’re listening in the wrong mood, and mood is very often time dependent as well as context dependent. For example, something that really works on a Sunday morning is not guaranteed to make the same spot resonate in the same way if you put it on Friday evening before going out somewhere.

So, this is a good Sunday album, although it’s also a good late night album if you’re in a mellow mood.  I also think it would be good for listening to at work; those spreadhseets ain’t much fun with library office gossip as a background noise. It’s a cross of middle eastern sounds – which I do have a regular soft spot for – with ambient production and atmospheres. It’s nowhere near as uptempo as her usual style, but I do like that too.

I haven’t found a simple one stop shop to listen to the whole thing, and out of consideration for those of you who are suffering with software creep, I’ll not embed every single track from youtube, though here’s the details if you feel the urge to track more down. Here, then are a few tracks:

Zitherbell

my favourite, Yeranos

Etheric Messages

Power of Vibrations

The whole album is worth checking as it’s very chilled.

Horseback – Dead Ringers

hbdrJenks Miller brings us the first Horseback release since the really rather good ‘Piedmont Apocrypha.’ Dead Ringers sees a natural evlution in the Horseback sound, which is to say, he’s carrying on down the road that he was going down.

What this means in practical terms is that the rifftastic, droney, atmospheric, groovy, noisy mashup that is Horseback continues to be a rifftatstic, droney, atmospheric, groovy, noisy mashup. He’s kept his vocals exclusively clean this time out, which I think works for the better. There’s also quite the sonic crossover with one of his other projects, Jenks Miller & Rose Cross NC, lending proceedings an alt-country air.

Listening to it last night again I was reminded mainly of the wonderful Appliance, who probably fitted few of the descriptors I used previously – it may have been partly the crystal clean production (a feature of all Horseback recordings), partly the drum machines which feature on the early parts of the album. The night before I found myself thinking of Julian Cope, particularly on the tune most likely to have slotted onto his earliest releases, In Another Time, In and Out of Form. Before that it was the HP Lovecraft band from the late ’60s. It is entirely possible that this album will remind me of a different artist every time.

There is a minor imperfection in that the last tune is about 6 minutes too long for my money; he could have kept the post-dubstep experimentation down to a mere 10 minutes and it would have been fine! But this is an otherwise minor quibble, as this is otherwise my favourite Horseback album.

Matchess – The Rafter

Matchess-Cover-400x400Have I ever mentioned the marvellous music made by Whitney Johnson?

This is the 3rd album under the Matchess moniker. Funny thing about that – the first album, Seraphastra, was a very regular play in the Soundbergs cavern. When the follow-up, Somnaphoria, was released, I stopped playing Seraphastra, even though I wasn’t as initially keen on Somnaphoria. The last few months have seen me caning Somnaphoria, however, as its full majesty has unfurled around me. Wish I’d put it in last years top 10 now.

So, as I alluded in my recent chat post, all seems rather quiet at the moment so I took the opportunity during a recent quiet desk session to have a look around to see if favourite artists of mine had anything new for me*, and here was the latest Matchess album. And despite the regularity of Somnaphoria in my ears beforehand, I’ve stopped playing it now and am busy grokking The Rafter, as well as another Verma album that I shall tell you about in due course.

Her music doesn’t so much have beats but a pulse, even more so on this new work – although the opener Alite and the penultimate Awdo break with traditions by including some of yer actual drums. It doesn’t seem to have so much low end as her previous work, although I think the first albums weren’t as bass heavy as they seemed; it may have been a very clever way of framing the music. She also ventures into more abstract territory this time around. Some of it is flat out ambient.  There is a definite sense of evolution, although that may not be quite the right word (maybe there isn’t one), in regard to the first two albums. Though, as ever, I am loathe to stick a label on it, I quite like the term ‘ambient shamanism’ coined over at Decoder.

And as with all music I really like, words fail me. I’m currently staring into space with saliva dripping from the yawning chasm of my mouth, eyes unfocused, trying desperately to grapple  with the concept of thought, and I’m not even listening to the music. I just hope no-one rings up now with an e-book problem.

*It’s a side effect of not doing social media, so I rarely know before something happens that something is going to happen. This has both positive and negative aspects.

Anna von Hausswolff – The Miraculous

avhSo, at the beginning of the year I did a compilation post of my favourite stuff of the year preceding. The two final entries on it hadn’t been featured on Soundbergs, although Pridjevi subsequently got one, and now Anna von Hausswolff too… actually because these two albums have been the most heavily played of this year.

There’s a write-up about the album here which goes into some of the philosophy behind it, but doesn’t mention anything about a story running across the album, which I most certainly hear. Wonder whether that is me projecting? Serious resonance, anyway.

Musically, it’s heavy. Not in the Metal sense, though guitars get crunchy and beats get poundy in a couple of songs, Swans have been invoked when that happens. But its heavy because the organ sound is so intense, because Anna tells such a story that fits it perfectly, because of the images it conjures, because it actually has the ability to completely possess the soul when you give yourself up to this album. The word awesome is often used wrongly (i.e. people say ‘awesome’ when they mean ‘quite good,’ when the word is actually meant to refer to marvellous things that are also a little bit overwhelming, scary – its a biblical word, dammit!) but can and should be used right(eous)ly when describing The Miraculous. Not to mention the vocals, which aren’t afraid of pyrotechnics, but are always tasteful and appropriate.

You know how you wake up, and there’s a song in your head? Well, the other morning I somehow managed to wake up and have this entire album in my head. Impossible to describe something like that, although it’s also true that it is impossible to describe music anyway. The only description that matters is this: IFL this album.