Articles
Hatchback
Dennis Wilson
Michna Top 10

Albums
Alpha Aesar
The Alps
Anduin
Beaten By Them
Bible & Henry
Bird Show
Bitcrush
The Boats
Boduf Songs
Budd & Wright
Callers
Derek Carr
Matthew Robert Cooper
Cristal
Dreamsploitation
Gore
Hatchback
Inverz
Monika Kruse
Lights Out Asia
Miya Masaoka
Michna
Model 500
Mr Cooper
Near The Parenthesis
Patron and Patron
Procer Veneficus
Raglani
Red Snapper
Max Richter
Roots Manuva
Michael Santos
Sempervirens
Shed
Sleepingdog
Spect. Lore / Underjordiska
Andy Stott
Taub
The Third Man
Uzi & Ari
You May Die / Gifts Enola
Zèbra
Zilverhill

Compilations / Mixes
DJ /Rupture
Diaspora: Cottage Ind. 5
Total 9

EPs
John R Carlson
Intrusion
Keenhouse
Joe Lapaglia
Model 500
Duncan Ó Ceallaigh
Frank Omura
Shigeto
The Sight Below
Steinbrüchel
Van Der Papen
Warez

Anduin: Forever Waiting
SMTG

Anduin (real name Jonathan Lee, resident of Richmond, Virginia and member of Souvenir's Young America) distinguishes his cavernously “dark ambient” sound from others by incorporating into his soundscapes all manner of mutated sounds (field recordings, electronics, keyboards, percussion, violin, harmonica, piano, vocals), making Forever Waiting definitely one for the headphones. A sense of claustrophobia pervades his gloom-laden and oceanically dense settings, though Lee occasionally allows light to penetrate the darkness.

In “For Francis Bacon (Part 1),” a swollen battalion of bass rumble becomes an undercurrent for a nightmarish moan of anguished voices, all of it topped by the bright sound of Noah Saval's harmonica. In “The Black Line (Forever Waiting),” Saval's wail sails over the insistent, low-pitched twang of a string instrument and the muffled gallop of horses' hooves, but they're but three elements of a large number Lee's blended into the total heaving mass. The recurrent shuffling noise in “Reason in Exile (Part 1)” suggests a dying prisoner dragging his emaciated body from one side of a dank dungeon to the other. In the Part 2 mix by Jasper TX (Dag Rosenqvist) that immediately follows, however, becalmed piano playing lets a smidgen of light bleed into the cell. John Twells' Xela mix “For Francis Bacon (Part 2)” ups the density ante even more by working supplicating choral voices into an enormous cyclonic mass of static and noise that ultimately consumes everything in its path before vanishing to leave Twells' plaintive guitar in its place.

October 2008