Articles
2011 10 Favourite Labels
Spotlight 3
Albums
Félicia Atkinson
Autistici
Bee Mask
Biomass
Gui Boratto
Peter Broderick
Benjamin Broening
bvdub
Chicago Odense Ens.
Dday One
Lawrence English
The Field
Nils Frahm
Douglas Greed
Jim Haynes
Hess + McFall
High aura'd
Hior Chronik
itsnotyouitsme
King Midas Sound
Leyland Kirby
Knox & Oberland
Koss/Henriksson/Mullaert
Tom Lawrence
Mist
Phonte
Planetary Assault Systems
Rustie
Sense
Sepalcure
Slove
Splashgirl
Two People In A Room
Vaetxh
Christina Vantzou
Marius Vareid
Wolfgang Voigt
Water Borders
Wenngren & Bissonnette
Xhin
Eisuke Yanagisawa
yMusic
Compilations / Mixes
Above The City
Air Texture Vol. 1
Burning Palms
Emerging Organisms 4
Live And Remastered
EPs
Antonymes/ S. D. Society
Cardopusher
Cyrus
Gulls
Keepsakes
Late Night Chronicles
Old Apparatus
Option Command
Pillowdiver
Benoît Honoré Pioulard
Kevin Reynolds
Strategy
Antonymes meets Slow Dancing Society: We Don't Look back For Very Long
Hidden Shoal
Here's an inspired concept that will no doubt have ambient devotees and Hidden Shoal fans salivating: We Don't Look back For Very Long is the sound of artist Antonymes (Ian M. Hazeldine, whose The Licence To Interpet Dreams was released by Hidden Shoal in 2011) reworking one track each from the four albums Slow Dancing Society (Washington-based Drew Sullivan) has issued on the Australia-based label (The Sound Of Lights When Dim, The Slow and Steady Winter, Priest Lake Circa '88, Under The Sodium Lights). In essence, the recording seamlessly weds the neo-classical leanings of Antonymes to the luscious atmospheric soundsculpting specialized in by Slow Dancing Society, resulting in close to thirty minutes of ambient-classical splendour.
The framing tracks “The Grey Sea and the Long Black Land” and “A Feeling of Being Closer” embed stately and ruminative pianistics, respectively, within stirring electronic backdrops. Though both pieces are strong, the latter setting in particular exerts a powerful impact on account of its time-suspending properties and its electro-acoustic serenity. There's a dusty quality to some of the material, too, with time-weathered sonic details imbuing the pieces with nostalgic character, whether it comes from a creaky voice sample in “As If Viewed From a Distance” or the quiet whirr of a film projector at the start of “That Moment.” The overall tone of the EP is melancholy and wistful, and the overall musical character stately and refined. Adding to the release's allure is its presentation: custom-made by Hazeldine, the CD arrives within a hand-numbered letterpress package (available in an edition of 100) that shows as much care and attention to detail as the music itself.November 2011