Last updated on January 6, 2022
Chelidon Frame‘s NowHere Nowhere NoWhere is one of the most interesting albums I’ve ever heard. It’s a brilliant instrumental piece of art that sonically depicts (not evokes, or suggests, but straight-up maps out) various landscapes, people, events, and stories. It’s no good as working music or ambient music because it demands to be listened to. It is a fully conceived piece of art in the way that films are fully conceived pieces of art. It’s hard for me to explain it, and I don’t really want to explain it, because trying to describe it would not do it justice. This album is a totally unique experience to everything I’ve ever heard before, and it’s massively impressive. Do yourself a sonic favor and check it out.
Olof Cornéer‘s Waves, Breaths & Dead Cities is a fascinating and difficult-to-explain work. Part of this is that I’m new at contemporary classical reviewing, but another part is that this is that I’ve rarely ever heard anything like this. The three parts of Waves, Breaths & Dead Cities are (de-)constructed so as to have only one note of one instrument of the wind quintet enter at a time, rarely relying on layering so much as leaning on the impact of each note entering.
It’s not experimental tonally (there are melodies! the scale seems like a regular scale!), but it’s highly experimental structurally. The structure, insofar as it exists, is highly obscured: on first listen this sounds like a large collection of notes one after another. With no through-played accompaniment or background elements, this can feel somewhat like points of light hitting a screen. But with repeated listens the whole of it comes together and starts to build a mood. It’s hopeful, of sorts–not gleeful or even happy (per se), but there’s a persistent underlying uplift that carries through.
The second set of three tracks are the “Night Gestalt” reworks that build in a little more of the backdrop of the notes with some electronic hum/hush/roar. It’s a nice companion piece to the stark versions that proceed it. This collection is fascinating and unlike any I’ve ever heard before; it’s worth a try if you’re into experimental, evocative work. The record drops July 4th.
Monomotion‘s Fujisan is a cross between the dignified chillwave of Teen Daze and the maximalist post-dub of Odesza. The 7-song record is essentially one 24-minute song split into parts; the pace shifts, the ideas change, but the overall mood remains the same throughout. Because Monomotion spends so much time carefully developing the mood, it’s a pleasant experience instead of a monotonous one.
Opener “North Cascades” introduces the friendly, relaxed mood through piano, airy synths and staccato beats; “Mango (with FEYNMAN)” cranks up the secluded-glen vibes in the synths and throws a four-on-the-floor bass thump into the mix for a more club-ready downtempo track. “Seed” is the chillout moment, largely eschewing percussion and bass for a 158-second ambient float. There’s some minimal rhythmic work thrown in, but this is a lovely ambient track at its core.
Lead single “Ecocline Patterns” is the core of the record, the place where high drama and chill tendencies come together in a unique way. Monomotion has minimalist tendencies and maximalist urges; despite these contrasting concerns (or maybe because of them), the song and the record feel perfectly balanced between both–the maximalist highs are satisfying, while the minimalist lows aren’t just throwaway moments to provide a lead-up to the payoff. Monomotion has attended to both with equal care, and this provides a satisfying experience in Fujisan. Highly recommended for fans of Teen Daze, Com Truise, and Odesza. Fujisan comes out 7/26, but you can pre-order it now.