Vaellus 006

“an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie’s own wordless singing. belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale.”

“explores profound electronic ambient sounds enlarged with ingredients of house, minimal, idm and what he calls a ‘new oriental sound’, a style, that translates traces of ancient asian music traditions into modern realms.”

“an exploration of loss, displacement, and the terrifying manifestations of love in the contemporary world. The expansive exploration of spirituality and the divine is palpable, and skillfully interlaces snapshots from decidedly grounded human experiences.”

“Defined by a struggle with insomnia and the restless, tormenting effect it can have on the mind, providing a dark, sonic exploration of this perpetual state of unease.”

“If oil is the lubricant of capital and data its foodsource, then smoothness is its aesthetic... File under #GullyAutomatedHyperConcrète.”

“its retro-futurist transmissions sound just as mysteriously compelling as they did the first time around. While they purport to faithfully transcribe the sound of yesterday’s technology, they end up being something more: a record of what we wish the past sounded like—a rickety tape transfer of desire itself, spooled and boxed, just awaiting discovery.”

“Like a sonic equivalent of the blurred and streaked canvases of Gerhardt Richter’s abstract paintings, Black Swan’s music isolates fine detail to be drawn out over time. Slowness becomes an act of resistance, obliging the listener to live fully in the present.”

“akin to hearing your all time favourite euphoric breakdown, except it is like glancing at a naked Edison bulb, the after-image of the filament ghosting across your vision after you shut your eyes, glowing purple and green in the void behind your eyelids.”

“More than an echo of the past, the bottled sound truly has matured. Retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold.”

“freeform new-age fantasia; spring-loaded toytronic arpeggios; quartz-driven braindance clockworks. drifting between consonant, almost lyrical compositions and shape-shifting textural sketches”

“sees Giske using his signature physical and hypnotic techniques in addition to Bratten’s extensive studio of electronic machines, including the new “resonant” space of Bratten’s reactive studio tuned to his original sounds. If this new process has brought Giske one step closer to the man-machine, it’s also a way to bridge the separation between the two. This kind of liminal space, according to Giske, is to be treasured.”

“An exercise in ambient pointillism, this EP makes masterful use of microsounds and dynamics to create beautiful washes of rich textures. Headphones highly recommended for a 3D listening experience!”

“a simmering, slow-burn noir odyssey inspired by the Greek myth of Echo and Narcissus, traversing subtle shades of sleepwalker dub, metallic lament, broken beats, and erotic negative space.”

“the composer took inspiration from social anthropologist Mary Douglas, particularly in regards to her concepts of ‘dirt’ which associates dirt as a form of disruption to order. E-Saggila takes this concept in compressed surreal washes of melodic noise and merciless drum building hierarchy deconstruction.”

“The themes of the original Global Communication album are developed for current times with familiar leitmotif about human empathy, education and inspiration framed within the technology, ideas and channels that Tom can now use to present this sophisticated music that delivers entirely new perceptual and cognitive experiences that transport the listener way beyond the dancefloor.”