This new LP is a beautiful series of time digger tracks that offer, each time, a meticulous and ethereal amalgam of chords and melodic motifs. They deploy themselves throughout a grand and playful dance, organically - but precisely - pulsing in the front line, transmuting from tone to sound and vice - versa, alternatively, gently.
The reverb guitar and dynamic drums might as well set up for a light - headed and nostalgic journey; however, one is seriously involved in a deep trip to holographically arranged music, radiance, into contemplative fragments.
Elongated tones and desynchronized perpetual chord canons get the forty-five minutes rolling, within which blurry strings and drum slide and extend. Composed chanting runs alongside cinematic melodies, and teach each other features.
Singing lines dissolve in soundscapes, soundscapes travel through digital and analog instruments to utter. Each track is the expression of its characters in certain aspects, it unfolds rather than develops, in such manner that melodies seem to have barely enough time to settle. What leads to take off is the actual take off, which makes it a true master piece for presence. Not one listen is - should be - the same.
Add to that a few ecstatic cadenza sneaking in the underlying and powerful classical music legacy in the otherwise adventurous, psychedelic ambient opus, and you’ve got your pass, visit eleven barometer portals to rimstones of vibrant matter.
Otto Johansson - Guitar, Synth, Electronics. Recorded and mixed at home - Winter, Spring, Summer 2017
Additional mix and pre-master by Linus Giertta - Fall 2017
Mastering Andy Miles @ Stardelta
Support: Norman Nodge, Golesworthy, Severino Panzetta, Tom Ravenscroft, Pathaan, Sean from Balamii and Benji B
Greta Cottage Woodpile bringing some ecstatic ambient works to dinner.
Inhmost recalls distant memories of a sun bleached beach and former glories faded back into sand.
A time of youthful hope and dreams of grandeur that have morphed over the years into reminiscent memories for two of the crew…
As if Inhmost climbed into their minds and created a dusty road trip using gear from the era – glacial reverbs and slow motion builds drip from speakers, floating audio across ears like filamentous achenes from a dandelion.
Miniscule hints of Goan beaches and horizontal D&B backrooms drift past your frame of reference, never breaking that stream of consciousness beaming out from the sun shadow of Dockweiler State Beach.
An LP for summer earbuds & early morning sunrise sessions, ambient music that is unashamedly retro, yet staring hard into the future with asynchronous joy.
If you recall The Orb & KLF Chillout reigned supreme over your post rave mornings, as you nursed a cup of tea and a roach then this Trip is for you… and if you don’t, enjoy your travels with an open mind.
Laslo, a Hungarian producer, and newcomer to the Greta Cottage Woodpile , creates and then inhabits a sonic world that is uniquely his own on Minden Nap Vasárnap . Through layers of delays, cavernous reverb, the ever-present crackling high end of light noise, tones and melody flicker through and decay into a washed out dub oblivion.
Laslo employs bass lines constructed through experimentations with LFOs to drive the music, the bass lines largely taking over the role of melody and creating a rich, propulsive low end that keeps each of the five tracks moving forward constantly. This strategy allows for the other elements in his work to emerge throughout the music with a level of detail and attention that encourages close and careful listening as the nuanced spaces he is creating in this EP unfold endlessly. At times the music produced by Laslo feels as though a radio dial is being turned, tuning into stations which just happen to be sympathetic to one another, each expanding upon the ideas of the last.
By employing a set of rigid rules to create musical structures and poly-rhythms, Laslo takes constricting logic sets as a method to encourage immense freedom through unexpected and off-kilter tempos, pattern lengths and time signatures, each minimal adjustment leading to surprising moments of clarity and subtlety in sound before fading back into the mix. By engaging in controlled experiments and processes that produce a surprisingly humanistic machine funk, the EP encourages the listener to return again and again to discover new moments of immense beauty. Minden Nap Vasárnap highlights that, more often than not, a less is more approach will garner far more compelling results. Sculpted in real time with a mixing board, the active engagement of Laslo is apparent throughout the project.
The confidence shown in this work should not be taken for granted, an immensely polished piece of experimental dub music, Minden Nap Vasárnap shows us a deeply focused producer working within a musical space filled with his own voice, rich with possibilities. (words by James Murray)
Greta Cottage Woodpile brings home the obligatory unoptimistic sensation with MTDD : Bernau 4
Specifically selected field recordings taken from a weekend in October ’13, when the GCW family walked around the District of Bernau 4.
The area around The Reconciliation Church features heavily in this audio collage of haunting and strangely emotional audio. The intent is to invoke the experience of a Berlin Cold War Border Crossing - through the eyes of a child.
The Marx Trukker takes these intricate pieces, tears them up and rebuilds into expertly crafted rhythms within rhythms.
As the abstractisms take shape, a very much broad and present, yet eloquently subtle use of cavernous atmosphere addresses confused and bemused intricate detail.
Seemingly and suggestively familiar snippets of sound coax disturbing weirdness with whistles and chants wrapped in distorted pinches.
Not for the easy listener, more often challenging than not; but particularly rewarding when getting lost in the density of discordant oddity.
Though harsh and aggravating at times there's moments of simply zoning into the constantly changing dynamic - bringing you to question 'where is the kick?' Before you know it there's a thudding undercurrent that feels like it had never left. Odd.
Early obvious nods to Demdikes, then unfurling into big Terry Dixon or Jeffery Mills territory towards the finish seem not too obtuse,
More smudged and paranoid than the previous Trukker partakings on GCW, it's suitably on Woodpile to set it apart from other material, requiring multiple sittings to really grasp it's glorious entirety
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