Articles
Andy Vaz Interview and Set
Mark O'Leary's Grønland

Albums
Acre
Arborea
Ólafur Arnalds
Kush Arora
Asura
bbcb
Steve Brand
Nick Chacona
Robert Curgenven
Cuushe
Daniell and McCombs
Delicate Noise
d'incise
Ecovillage
Danton Eeprom
Seren Ffordd
Paul Fiocco
El Fog
Koutaro Fukui
Corey Fuller
The Go Find
Ernest Gonzales
Koss
Francisco López
Ingram Marshall
Craig McElhinney
Minamo
My Majestic Star
Mystified
Nest
Nommo Ogo
Olive Oil
O'Leary - Passborg - Riis
Oy
[Post-foetus]
RPM Orchestra
Ryonkt
Richard Skelton
Slow Six
Sone Institute
Sousa & Correia
Stanislav Vdovin
Viridian Sun
Christian Zanési

Compilations / Mixes
Erased Tapes Collection II
Hammann & Janson
Leaves of Life
Music Grows On Trees
Phasen
Quit Having Fun
Scuba
Thesis Vol. 1

EPs
Aubrey
Be Maledetto Now!
DK7
Herzog
Hrdvsion
Mr Cloudy
Damon McU
Morning Factory
Neve
M. Ostermeier
R&J emp
Stanislav Vdovin

[Post-foetus]: The Fabric
Mü-nest

Will Wiesenfeld's [Post-foetus] music might sound a little bit like The Postal Service's (Wiesenfeld, a twenty-year-old Californian, could even pass for Ben Gibbard's younger brother) but, in truth, his bedroom-styled electronic pop songs have more in common with the alluring mini-symphonies one associates with Brian Wilson (another of Wiesenfeld's influences surfaces during “Felix and the Mural” when a tiny snippet of Björk's voice appears). Exuberant, melodious, and uplifting, The Fabric presents ten set-pieces that combine vocal, string, piano, and guitar melodies with samples, electronic beats, and ambient textures into blissful tapestries of sound.

Wiesenfeld's classical training comes to the fore during the vibrant opener “Migration” when string melodies appear alongside piano, typewriter-like beat structures, and vocals (with Wiesenfeld singing about planets and other matters). With its soaring vocal harmonies, “Douse” can't help but remind one of The Beach Boys, and the dreamy evocation “Hill Views” does much the same in merging wordless vocal harmonies with beats and acoustic guitars. The airy and ethereal “Endearment Endure” stands out as a serenading setting of vocals, piano, and electronics, plus there are sparkling instrumentals (“Physicist”) and luscious synth-pop-and-techno fusions (“Kiki,” which is nicely enhanced by Georgia Lill's cello). As enjoyable as it is, the album isn't without a flaw or two—the otherwise palatable squiggly electropop of “All of the World,” for instance, is weakened by high-pitched vocals that chirp a bit too brightly—but missteps are few and far between on an album that generally registers as polished and fully-formed. Wiesenfeld apparently has lots more where The Fabric came from—word has it he's stockpiled four full-length albums, three EPs, plus hours of unreleased material—so one suspects that The Fabric won't be the last we hear from him.

February 2010